Post on 28-Oct-2014
transcript
Page 1 Music in Worship
© 2012 Dr Daniel K. Robinson
Music in Christian Worship Objectives:
1. Briefly review the biblical teaching on the use of music.
2. Outline the major developments in the history of western Christian music.
3. Survey the dominant use of singing and the human voice in Christian worship.
4. Outline the nine main styles of music used throughout the church today.
Outcomes:
The aim of this session is to provide the student with an overview of music and its use in today’s church
constructs. Commencing with an evangelical understanding of music, and its place within worship, this
session will survey the development of western Christian music and the use of the human voice as the
predominant instrument in Christian music. The session concludes with an overview of the nine main
musical styles used throughout the western church.
TheArtsintheChurch
God has gifted human beings with the capacity to create and the ability to express themselves through
their creativity. Collectively known as ‘the arts’, human expression whether by painting, drama, dance or
music, has at times been celebrated in the church while at other points in history (sometimes
simultaneously) the arts have been maligned. The scope of ‘the arts’ is far too wide for this session so
the artistic expression of music has been singled out for review; which given its singular breadth can
only be covered ever so briefly.
Music has been the art form elected from among all others to give voice to Christian worship, to be joined
to the words of the poet‐evangelists, and to be used by the church to teach and correct the saints. Servant
to the very word of God itself, music has been the chosen messenger for confession, praise, thanksgiving,
edification, and proclamation. Christians may have argued how to sing or what to sing, but few have ever
disputed that singing was the natural response of the creature to the creator. (Payne, 2001, p. 800)
Readings
•Begbie (2007). Resounding Truth. Read complete text.
• Cherry (2010). The Worship Architect. Chapter 10 (pp. 151–178)
•Westermeyer (1998). Te Deum. Read complete text.
•Wilson‐Dickson (1992). The Story of Christian Music. Read complete text.
Christian Worship PC315/515
Page 2
Music in Worship © 2012 Dr Daniel K. Robinson
1. BiblicalTeaching
Music holds an important place in our worship; and has done so throughout
the history of the church. The bible is rich with references to music (its use
and practice) with the first mention in Gen. 4:21 which records Jubal the
musician. Despite this early reference music was not central to biblical
worship until the time of King David. “While there were indications that
Israel already used songs in their worship (Ex. 15:1–21; Deut.32; Judg. 5;
1 Sam. 2:1–10), other cultures had much more developed musical guilds
and worship repertoires. David changed that” (Sweetman, 2012a, p. 11).
The organisation of music and its performance is heavily structured during
(and after) David’s reign.
Music in the Old Testament
John Sweetman (2012a) outlines David’s administration of music in the temple rite (p. 11):
Development of Musical Guilds
o David selected 3 Levitical families to be the temple musicians
o These families were divided into 24 groups of singers/instrumentalists.
o There were approximately 4000 musicians, which meant about 150 per group (1 Chron. 23:5).
o The family heads resided in the temple and were probably responsible for the development
of musical materials and supervising and coordinating the program. The musicians lived with
the Levites among the people.
o 288 master teachers were dispersed to tutor pupils (1 Chron. 25:7–8).
Organisation of Musicians: The musicians were all drawn from the tribe of Levi and had many
similarities with the other Levites (1 Chron. 6:31–32; 9:33; 15; 25). They:
o Had a prominent role in temple services
o Received tithes from the people
o Lived together in Levitical towns
o Shared common education and structure i.e. 24 groups (Neh. 7:73; 11:1–3; 18, 20)
o Led worship for 2 separate weeks each year at the temple (decided by lot)
o Came together for the 3 gala Jewish festivals (Passover, Weeks, Tabernacles)
The disadvantage of supporting such a large group of professional worshippers was balanced against the
advantages of the structure which ensured that the whole population was represented.
As priest‐musicians, these performers gave full time to their musical service. They were chosen on the
basis of their talent (1 Chron. 15:22) and were thoroughly trained, serving five years of apprenticeship
before being admitted to the regular chorus. The Jewish choir was organized under at least three
composer‐conductors—Asaph, Herman, and Jeduthun (2 Chron. 5:12). The singing was accompanied by
many kinds of instruments—lyres, pipes, harps, trumpets, and cymbals—and was also associated with
dance (Ps. 150:4). (Hustad, 1994b, p. 189)
David soothes Saul (1 Sam 16:16; 23)
Christian Worship PC315/515
Page 3
Music in Worship © 2012 Dr Daniel K. Robinson
The Psalms
Ancient Jewish worship has always combined the public reading of scripture with melodious voice and
instrumentation. Donald Hustad (1994b) writes, “They were always sung in a fervent cantillation. (Ps.
47:1). They were accompanied by instruments in what is believed to have been a sort of heterophony, in
which the instruments provided embellishments of the vocal melody” (p. 189). Hustad goes onto list
three main types of instruments used by the Hebrew people (p. 189):
String: kinnor (“lyre,” related to the Greeks’ kithara) and nebhel (“harp” with up to
ten strings, sometimes called “psaltery” in kjv).
Wind: shophar (a ram’s horn), halil (a double‐reed, like the oboe), hazozerah (a metal
trumpet), and ugabh (a vertical flute, used mainly in secular music).
Percussion: toph (tambourine, or hand drum), zelzelim (cymbals), and mena an im (a
sistrum; pictured right).
The main body of ‘songs’ contained within the bible are collectively known as the Psalms.
Andrew Wilson‐Dickson (1992) writes in The Story of Christian Music, “The book of all 150
psalms was compiled over a long period, its present form being established well after the exile and the
re‐building of the temple” (p. 20). He goes on to state,
Some of the titles, such as ‘a psalm of Asaph’ or ‘of the sons of Korah’, indicate the repertoire of
a particular hereditary guild of musicians; other’s indicate the occasion on which the psalms
were used, still other’s giving the name of the melodic formula used to accompany them. (p. 20)
The Psalms can be organised into three groups of worship expression (Hustad, 1994b, p. 190):
Praise
o Praise the Lord!
o For it is good to sing praises to our God; for he is gracious, and a song of praise is seemly.
(Ps. 147:1)
Petition
o Give ear, O Shepherd of Israel, thou who leadest Joseph like a flock! Thou who art
enthroned upon the cherubim, shine forth before Ephraim and Benjamin and Manasseh!
Stir up thy might, and come to save us! (Ps. 80:1–2)
Thanksgiving
o I love the Lord, because he has heard my voice and my supplications. (Ps. 116:1)
God commands both instrumental and vocal praise in Scripture. Psalm 150 says we’re to
praise the Lord with horns, cymbals, and strings. Over fifty times in the book of Psalms
we’re told to sing God’s praise. Psalm 47 is particularly clear: “Sing praises to God, sing
praises! Sing praises to our King, sing praises!” (v.6) (Kauflin, 2008, p. 98)
Christian Worship PC315/515
Page 4
Music in Worship © 2012 Dr Daniel K. Robinson
Music in the New Testament
Despite the scant mention of music throughout the New Testament, we can draw a range of
observations as to musics use and practice; both in the Jewish Synagogue and the early church.
The traditions of the synagogue continued to be absorbed into Christian worship for some time, in spite
of the persecutions of AD44 and the Council of Jerusalem, which in AD 49 ruled that pagan converts to
Christianity need not keep the Law of Moses. Cantors, trained to lead the singing in the synagogue and
then converted to the Christian faith, continued to put their skills to use in their new church. (Wilson‐
Dickson, 1992, p. 25)
Synagogue worship centred on the ceremonial reading of the scriptures (Torah and the prophets); and
was generally followed by a homily. While it is not known when music came into synagogue worship, it
has been suggested that “certain Levitical singers may have continued to practice their art in the lay‐
orientated gathering” (Hustad, 1994a, p. 192). We can observe music’s intended use threaded
throughout the components of synagogue worship which Donald Hustad (1994a, p. 192) lists as:
Scripture Readings (Torah; the Prophets)
Homily, followed by discussion
Psalmody
The Kedusha, “Holy, Holy, Holy,” (Isa. 6:3)
Prayers (The Yotzer and the Ahabah, emphasizing the creative acts of God and his love for his people,
ending with the Shema—“Hear, O Israel; the Lord our God is one Lord,” etc., a declaration of faith and a
glad benediction, from Deut. 6:4–9, 11:13–21; Numbers 15:37–41)
The Eighteen Benedictions (expressions of praise, petitions for material and spiritual blessings, and
intercessions for many people, concluded with a united “amen”).
It is not possible to draw a detailed structure from the New Testament writings, but most scholars agree
that there was a natural ‘borrowing’ of structure from the Jewish synagogue. Sweetman (2012b)
identifies ten elements that were contained in the ‘more spontaneous’ structure of early Christian
church worship (pp. 5–6):
1. Prayer: the home meetings involved prayer (Acts 16:15; 21:8).
2. Praise: The Psalter was probably the hymnbook, but Christological hymns are also used (Phil. 2:6–11).
3. Scripture Reading: it is likely that the OT was read aloud as well as Paul’s epistles (1 Thess. 5:27).
4. Preaching/Teaching: The ministry of the word of God (Acts 6:2) also included a teaching element.
Instructing Christians in sound doctrine was essential (1 Tim. 4:11–13).
5. Lord’s Supper: The celebration of the Lord’s Supper developed from a meal to a more formal act (1 Cor.
11:17–34).
6. Baptism: Jesus instructed his disciples to ‘Go and make disciples, baptising them…” (Matt 28:19).
7. Offering: Bringing an offering was an important part of worship (1 Cor. 16:1–4).
8. Confession of Sin: Inherent to baptism, 1 John 1:8–9 may indicate confession as an essential element.
9. Holy Spirit action: Some spiritual gifts were meant for use in the public meeting for the benefit of other
believers (1 Cor. 12–14).
10. Creeds: It is likely that the early church set out some statements of foundational theology for worship.
Christian Worship PC315/515
Page 5
Music in Worship © 2012 Dr Daniel K. Robinson
2. AnOverviewoftheHistoryofChristianMusicThe following timeline, A Brief Overview of the History of Christian Music
(Leader, 2011), provides a concise outline of the development of Christian
music from the Old Testament through to relatively recent history. It is
important to note that the trajectory of Eastern Orthodox is not
represented. Wilson‐Dickson’s (1992) The Story of Christian Music (pictured
left) does provide the interested reader with an overview of the Eastern
Orthodox developments as well as an excellent survey of the African‐
American contribution (Black Gospel etc.) which is also not presented in the
following timeline:
Old Testament Era
“The morning stars sang together” to herald
creation (Job 38:7).
Jubal is appointed “the father of all such as
handle the harp and pipe” (Genesis 4:21).
David’s harp refreshes and restores Saul, so
that “the evil spirit would depart from him” (1
Samuel 16:32).
King David forms a large choir with orchestra
for the tabernacle worship (1 Chronicles
15:16).
A minstrel plays as Elisha delivers God’s Word
(2 Kings 3:15‐16).
Music fills the house of God with Glory (2
Chronicles 5:13‐14).
Singers go out before the army of the
Israelites, and the Ammonites and Moabites
are destroyed (2 Chronicles 20:21, 22).
“A song of praise” will cause many to see, fear
and trust the Lord (Psalm 40:1‐3).
The Lord is praised with trumpet, harp, lyre,
timbrel, stringed instruments, pipe, cymbals,
and dancing (Psalm 150:3‐6).
Musicians are rejected by God for lack of
righteousness (Amos 5:23).
New Testament Era
Mary sings the Magnificat: “My soul doth
magnify the Lord” (Luke 1:46‐55).
Jesus sings a hymn with His disciples
(Matthew 26:30).
Believers are exhorted to speak to one
another in “hymns and spiritual songs … to
make melody with your heart to the Lord”
(Ephesians 5:19).
Paul and Silas sing in jail, the prison is
destroyed and many are saved (Acts 16:25‐
31).
Early Christian Era
90 – The Odes of Solomon are written and
sung by the early church becoming
Christianity’s oldest surviving hymnbook,
other than the Book of Psalms.
112 – Pliny writes of Christians gathering at
dawn to sing hymns.
300 – Hilary of Poitiers, inspired by Greek
hymns, begins writing hymns in Latin which
utilize marching rhythms of Roman
Legionnaires.
313 – Constantine the Great is converted.
Christian worship develops liturgies and
rituals.
320 – Ephriam writes hymns for the liturgy.
(Wilson‐Dickson, 1992)
Christian Worship PC315/515
Page 6
Music in Worship © 2012 Dr Daniel K. Robinson
385 – John Chrysostom warns of pernicious
influence of secular music, declaring it “at the
root of acts of violence and dishonor, wars
and daily deaths.”
388 – The Laodecian Council bans extra‐
biblical lyrics from congregational singing and
deplores handclapping and the use of
instruments in worship.
The Middle Ages
578 – Women are banned from church choirs.
590 – Gregory the Great established ritual
church music, resulting in Gregorian chants
and plainsong.
1100 – Hildegard of Bingen gives concerts in
the Spirit which are attended by thousands.
1100 – Popular “Singing Guilds” are formed
and hymns are sung in the common language.
1325 – Pope John XX2 forbids extravagances
in church music and orders plainsong
restored. The Church condemns singing in
harmony, saying ‘it almost deprives the ears
of the power to distinguish.”
1360 – Reformer John Wycliff declares that
sincerity in worship is of more value than
form. He declares, “Formalism and elaborate
services might hinder true worship.”
1360 – Lollard Movement is established by
John Wycliff. They go forth singing and
preaching the Word to the common people.
1409 – John Huss declares, “Church music
should be by the people and for the people.”
He writes hymns and
translates other
from Latin. Huss’
followers become
known has “The
Singing Church” and
publish the first
protestant Hymnal in
1501.
The Reformation
1523 – Luther stresses the importance of
congregational singing. He issues a hymnal
and composes hymns himself, often taking
tunes from secular sources. Luther said, “The
devil had no right to all the good tunes.”
1540 – Anabaptists (radical reformers who
stress the importance of music in worship and
who actively write hymns) are persecuted by
both Catholics and Protestants.
1549 – John Calvin warns against ornamental
aids to worship and stresses simplicity. He
suggests that songs have only one note per
syllable. As a result instruments are banned
from churches.
1560 – The popularity of Scottish psalters
brings psalm singing into homes, to parties, to
dinners and onto the streets.
1600 – Puritans, prompted by Calvin, accept
only metrical psalms sung in unison by the
congregation. Choirs and church organs are
condemned and many instruments are
destroyed.
The Great Awakening
1701 – Isaac Watts publishes Hymns and
Spiritual Songs. He is greatly criticized by the
religious establishment for “worldliness.”
1725 – A major revival in Europe and America
is marked by an emphasis on singing and
praying.
1746 – J.S. Bach, writing music for the “glory
of God,” collides with church authorities and
is reproved for making “curious variation in
the chorale” and “mingling strange tones.”
Bach goes over the heads of church superiors
by appealing directly to secular authorities so
he may continue composing.
1788 – Charles Wesley publishes more than
4,000 hymns. “Why should the devil have all
the good music?” he asks. John Huss (AD 1373–1415)
Christian Worship PC315/515
Page 7
Music in Worship © 2012 Dr Daniel K. Robinson
1792‐1857 – Major revivals sweep the U.S.
and British Isles. Charles Finney and others
use music as part of a broad, national
evangelical movement.
Evangelical Era
1863 – William Booth uses drums and brass
bands in his ministry in London slums. The
Salvation Army is formed and members are
arrested for disturbing the peace. Their
activities in England, America and India are
met with ridicule and violent opposition.
1870 – D.L. Moody becomes the first world
evangelist and places great emphasis on
music at revival meetings. Ira Sankey becomes
Moody’s musical minister and popularizes the
gospel song.
1904 – A worldwide awakening occurs at the
end of nearly forty years of evangelical
advance. It was sparked by the Welsh Revival
in which over 100,000 outsiders are
converted and added to the churches.
1910‐1935 – Evangelist Billy Sunday and song
leader Home Rodeheaver use gospel music
form in tabernacles across the U.S.
1920 – Charles Fuller pioneers radio
evangelism with Rudi Atwood and the Old
Fashioned Gospel Hour Quartet.
1923 – Aimee Semple McPherson’s Angelus
Temple begins holding extravagant musical
attractions to “get the sinners off the streets.”
1945 – Earl Williams forms the first Christian
record label called Sacred Heart Records.
1949 – Evangelist Billy Graham, with the
musical team of Cliff Barrows and George
Beverly Shea, hold the first citywide campaign
in Los Angeles. It receives worldwide
attention.
1956 – Geoffrey Beaumont writes folk mass in
pop style for the Church of England.
1960s – Several entertaining Christian travel
groups form to witness through the pop
music sound. The most notable of these was
the Spurlows, sponsored by the Chrysler
Corporation.
1963 – Vatican II permits vernacular instead
of Latin in the mass and encourages
participation in singing.
1968 – The Jesus Movement captures
international attention. There is a spiritual
awakening among the rock generation and
thousands are baptized in one summer. The
music of the drug culture is appropriated by
young Christians for witness, instruction and
worship. Jesus rock bands are formed.
1970 – Jesus rock groups begin national and
international tours. Meanwhile, evangelical
leaders denounce the music of the Jesus
Movement. Drumbeat is labeled as “satanic”
and a bad moral influence. Jesus rock records
are burned.
1971 – New Christian companies begin and
products are marketed.
1972 – Various Jesus Movement festivals are
held beginning with campus crusade’s Cotton
Bowl gathering of 180,000. These festivals
spotlight the Jesus rock sound.
1975 – There is a rise of competitive Christian
record labels and a growth of conventional
entertainment apparatus to produce and
promote Christian music (i.e., managers,
promoters, agents, etc.).
1977 – National Christian T.V. networks are
formed: PTL, TBN, CBN, etc.
1979 – The conversion of Bob Dylan
prefigures the widespread avowals of faith by
major music figures, most of whom remain in
the secular music mainstream.
Christian Worship PC315/515
Page 8
Music in Worship © 2012 Dr Daniel K. Robinson
3. SingingSinging is, and has always been the primary instrument used to
declare the goodness and greatness of God. Despite recent cultural
imbalance which has seen the word ‘worship’ used to singularly
represent the sung portions of the service, singing retains its
importance as one of the preeminent activities that can be
performed by the corporate body (the laity). Ligon Duncan (2009)
reminds us, “Scripture passages that discuss singing in public worship include Psalm 98:1; Revelation
5:9; Matthew 26:30; Nehemiah 12:27,46; Acts 16:25; Ephesians 5:19; Colossians 3:16” (p. 107). Begbie
(2008) furthers our scriptural understanding when singing by observing:
Roughly three quarters of the Bible verses on music refer to song. Ancient Israel was a singing
culture, and the variety of songs seems to be as wide as the variety of human activity. So, for
example, we read of work songs (Isa. 16:10), military songs (Judg. 5:1–31; 1 Sam. 21:11; 2
Chron. 20:21), songs of instruction, prophecy, and mutual edification (1 Kings 4:32; 1 Chron.
25:1–3), love songs (Isa. 5:1; 23:15–16), songs of entertainment (Job 21:12; Isa. 24:9; Lam 5:14;
Amos 6:5), songs with dance (Exod. 15:20; 1 Sam. 18:6–7), songs of derision (Job 30:9; Ps.
69:12; Lam. 3:14, 63), and songs of mourning and lamentation (2 Chron. 35:25). (p. 61)
Chuck Fromm (2011), in an article titled Singing as Communication, outlines five elements (values) of
singing and the benefits of our singing together (p. 32):
1. Singing is the most participatory thing we do congregationally
2. Singing is metonymic and points toward our expression of ‘new song/Christ’ in the larger
world
3. Singing is based on the text/Scripture and as such forms us as Christians: the word become
flesh
4. The songs we sing, the aesthetic and musical forms are important markers of the phases of
life of our church or faith tradition
5. The forms will naturally become rigid and lose expressive power – as the language, symbols
become hardened – and need to be revivified or reinvented.
Bonhoeffer speaks to the power of this [singing together] when he asks and answers an
important question: ‘Why do Christians sing when they are together? The reason is,
quite simply, because in singing together it is possible for them to speak and pray the
same Word at the same time; in other words, because here they can unite in the Word.’
(Cherry, 2010, p. 255)
Christian Worship PC315/515
Page 9
Music in Worship © 2012 Dr Daniel K. Robinson
Of course, singing and the inherent value of corporately giving voice to our beliefs and collective
experiences, requires teaching (as to the values) and awareness of the obstacles which face the singing
congregation. In Mastering Worship, Hayford, Killinger and Stevenson (1990) present five obstacles to
effective singing (pp. 51–52)1:
1. A shrinking body of commonly accepted congregational song: the advent of the internet has
curtailed this to some degree, but the challenge is still noticeable when Christians gather in
ecumenical settings; such as a city‐wide prayer meeting etc.
2. A spectator orientation: within the wider culture (outside of Christianity) music has become a
‘spectator sport’; i.e. music has become something we listen to, not something we open our
own mouths and participate in. The obstacle that challenges congregational singing here is
one of encouraging participation: simply getting people to sing and join in.
3. Misunderstanding the role of music in worship: sadly, many Christians perceive music as
simply the ‘gap‐filler’. Our congregations must be taught to appreciate the full value of
singing together.
4. Lack of time: When the place of music, specifically the importance of singing, is
misunderstood it is all too easy to ‘drop a song’ here and there in order to devote time to
other ‘more important’ elements of the worship time. It is important to remember that when
we reduce the opportunity for the congregation to sing, we rob (in proportion to the
reduction of singing) the people of their opportunity to participate.
5. Poor acoustics: The challenge of achieving the right ‘balance’ acoustically seeks to blend the
leading voices (music/worship team) which are generally amplified with the unamplified
voices of the congregation.
The difficulty is that people sing when they are confident that their own voice will join with the
voices around them in way that does not overly expose their own singing. Balance must be
obtained. Too much volume and the worship
participant will cease participating due to
physical discomfort. Too little volume and the
worship participant will cease participating due
to social discomfort. (Robinson, 2011, p. 218)
1 It is important to note that these obstacles were outlined in 1990. It is therefore important to contextualise each of the five obstacles against today’s worship constructs; recognising that the Church has addressed or is in the process of addressing the obstacles noted.
Acoustic Space Balance (Robinson, 2011, p. 218)
Christian Worship PC315/515
Page 10
Music in Worship © 2012 Dr Daniel K. Robinson
4. Today’sWorshipMusicMusic has always been intrinsically involved in Christian worship.
The challenge facing today’s ‘worship curators’ (Pierson, 2010) is
not the inclusion of music (which is widely accepted as necessary),
but moreover ‘what’ music to include. A good deal of the debate
surrounding music in today’s worship constructs centres on the
‘style’ (musical genre) of the music: hymns or choruses. Kent Huges
(2002) writes in Worship by the Book, “The selection of appropriate worship music is not merely a
matter of choice between traditional and contemporary Christian music. The decision must be made on
principle. Whatever the genre of music, it must meet three criteria: text, tune, and fit” (p. 169). Hughes
has identified the central feature of the ‘worship wars’: principle driven selection or repertoire. One
difficulty remains ‐ agreeing on ‘the principle’.
Given the limited scope of this session we will not try to settle to age old arguments here. Instead we
will review the range of music genres available today. While many commentators and church musicians
only reference traditional and contemporary music (hymns and choruses respectively) it is important to
note the repertoire is far more nuanced than the traditional/contemporary duopoly suggests. Constance
Cherry (2010) in her text Worship Architect references nine styles of music on her ‘menu of
congregational song’. Cherry writes,
There is strong merit in suggesting that a wide variety of types of congregational song are useful
– even needful – for the church in our day…The judicious and passionate use of any and all of
these possibilities will deeply enrich the worship of any congregation. (p. 156)
Let’s now look at the nine types of congregational song available to today’s congregations:
Psalms: Psalms have been used for worship since the temple worship of Kind David. Calvin is
known to have commissioned the writing of many metrical psalms (psalms that were
paraphrased). Cherry writes, “the psalms are remarkable for their poetic beauty, honesty, and
expression of human pathos” (p. 160).
o Special Contribution: they express image and circumstance tied to emotion as well as
using conversational language with God.
o Suggestions for use: Able to be used throughout
the service, psalms are helpful when praising God
and for times of petition and intercession.
o Examples: O Lord, Our Lord, How Majestic if Your
Name and On Eagles Wings
King David wrote many of the Psalms
Christian Worship PC315/515
Page 11
Music in Worship © 2012 Dr Daniel K. Robinson
Miriam celebrates the Lord's deliverance of the Hebrew people
Canticles: These are the songs recorded throughout scripture which are not within the book of
Psalms. One example is the song of Moses and Miriam after the crossing of the Red Sea
(Ex. 15:1–18, 21). “Like the psalms, canticles have had a continuous use in Christianity, especially
in Roman Catholic, Anglican, and Lutheran traditions” (p. 161).
o Special Contribution: canticles are wonderfully expressive in
how they convey God’s deliverance; allowing God’s people
to connect with what God has done and will continue to do.
o Suggestions for use: these pieces of ‘scripture in song’ often
provide the congregation the opportunity to associate their
praise with God’s miraculous acts; making them excellent for
use during the gathering and the Word.
o Example: My Soul Magnifies the Lord
Hymns: Often the term given to represent the ‘traditional’ genres, hymns specifically express the
truths of the Christian faith using language other than scripture. Mark Evans (2006) writes, “The evangelical hymn writers greatly increased the vocabulary of their congregations and their ability
to cope with complex theological language and thought” (p. 35).
o Special Contribution: the musical form of hymns (multiple stanzas) enables the song
writer to communicate “a sustained and developed teaching and/or reflection on a
biblical or theological truth” (Cherry, 2010, p. 162).
o Suggestions for use: Hymns can be used throughout the worship service.
o Examples: Crown Him with Many Crowns and As We Gather at Your Table
Gospel Songs: Closely related to the hymn, gospel songs are “poems of personal testimony that
convey words of subjective witness or trust; [they are] about self and others in relation to God
and [are] written in metered stanzas with refrain” (p. 163). The gospel song differs from the
hymn in its content: hymns convey doctrine and theology, whereas gospel songs present
personal experience and response.
o Special Contribution: a forerunner to the modern chorus, gospel songs allow the
worshipper to express personal experience and testimony.
o Suggestions for use: Gospel songs work extremely well as a response to the Wo.rd and
may also be suited to sheer praise.
o Examples: To God be the Glory, I Surrender All, and Blessed Assurance
Fanny Crosby (AD 1820–1915) wrote over 8000 tunes including hymns and gospel songs.
Christian Worship PC315/515
Page 12
Music in Worship © 2012 Dr Daniel K. Robinson
Choruses: The chorus can be considered, in its form and structure, an abbreviated form of the
gospel song. “Because of its abbreviated structure, the chorus has fewer words than other song
forms…Its form does not lend itself to a well‐developed doctrinal argument; the lyrics must
simply state facts and leave it at that” (p. 166). The chorus is certainly limited in its capacity to
convey deep doctrinal truths, but this is not necessarily a weakness. Chapell (2009) reminds us
that,
Before we complain too stridently about a chorus being repeated two or three times, we may
need to re‐read Psalm 136 or give thanks that we do not have to repeat the Kyrie twelve
times as Calvin required of his people in Strasbourg. (p. 140)
o Special Contribution: despite the ‘shortness’ of the chorus, many are scripturally based.
Chorus convey joy exceedingly well and often develop a felt sense of God’s immanence.
Choruses are also well suited to modern instrumentation and the pop idiom’s that many
modern worshippers stylistically appreciate.
o Suggestions for use: Choruses are excellent during the gathering of a service and help
worshippers to orientate to an awareness of God among his people. Choruses are also
excellent in preparing for and reinforcing the theme of the sermon.
o Examples: Seek Ye First, and Shout to the Lord
Taizé: The devotional nature of Taizé material is born out of its origins. A French brother,
Roger Louis Schutz‐Marsauche, established a community of prayer and service to the poor in the
south‐eastern French village of Taizé. “A unique style of worship song has emerged from the
Taizé community, where contemplative worship occurs three times daily…The music employs
short repetitive refrains, canons, ostinatos, etc. – devices that make it easy for such diverse
crowds to join the singing” (Cherry, 2010, p. 168).
o Special Contribution: specifically, Taizé worship material aids congregations in
contemplative worship. In particular, emerging worship communities use Taizé material
because of its “mystical sounds and the
authentic, simple presentation” (p. 168)
o Suggestions for use: Taizé material is best suited
to times of response. Most Taizé songs are sung
prayers which make them particularly suited to
responding to the Word.
o Examples: O Lord Hear my Prayer, and Jesus,
Remember Me
The Taizé community at prayer
Christian Worship PC315/515
Page 13
Music in Worship © 2012 Dr Daniel K. Robinson
Spirituals: The contribution of African‐American’s to western worship constructs cannot and
should not be underestimated. Often referred to ‘Negro spirituals’, this body of songs has its
roots in the mournful music of the slaves. Originating in the 18th century, “the spiritual was the
religious counterpart to the work song. Spirituals are based heavily on biblical stories, especially
of deliverance and deliverers (Daniel, Moses, Elijah, Ezekiel, Jesus, etc.)” (p. 169).
o Special Contribution: Spirituals embody the human experience, good and bad, like no
other genre. They therefore afford the congregation the opportunity to express their felt
needs with a high degree of vulnerability.
o Suggestions for use: Like hymns, spirituals can be placed almost anywhere within the
worship context dependent on the lyric.
o Examples: Where you there when they crucified my Lord, and Didn’t my Lord Deliver
Daniel.
Black Gospel: The hybrid of spirituals, hymns, blues, ragtime, jazz, and nineteenth century Euro‐
American gospel hymns, Black Gospel is “both a noun and a verb. One can sing Black Gospel and
one can ‘gospelize’ any song, that is to say that any song can be performed in Black Gospel style”
(p. 171). Despite its roots among African‐American communities Black Gospel is transcultural and
is widely accepted for its “ability to irresistibly draw in the worshipper and urge participation
from the congregation vocally, physically, emotionally, and spiritually” (p. 171).
o Special Contribution: Due to the disarming nature of the musical form, Black Gospel is
helpful in encouraging worshippers from a passive stance to a participative position.
o Suggestions for use: Because any song can be ‘gospelized’, Black Gospel is a form that can
be placed throughout the worship service structure. It is particularly helpful during the
response and sending portions of the service.
o Examples: Through it All, and Walking up the King’s Highway.
Global Song: The grouping of Global Song is the term given to any musical form that is
indigenous to cultures outside the western perspective. Cherry quotes Roberta King when she
defines Global Song: “Global Christian music is defined as any music found in the Christian church
worldwide. Particularly, it specialises in cultural musics from the non‐Western world where songs
are often sung in vernacular languages and performance practices remain fairly loyal to their
surrounding music traditions” (p. 171).
o Special Contribution: The use of Global Song reminds us that God’s purpose is for every
tribe and people group. The inclusion of Global Songs in our worship services enables us
to join with God’s people across borders and cultures.
o Suggestions for use: Employing Global Songs in worship can be challenging, especially if
they are written in a foreign language. This should not dissuade their use; it may simply
take a little longer for the congregation to learn the material.
o Examples: Siyahamba, and Canto de esperanza.
Christian Worship PC315/515
Page 14
Music in Worship © 2012 Dr Daniel K. Robinson
What is your earliest memory of congregational song? What style was the material that
you remember? Does that musical style from your past differ from the music that you
experience in your worship community today? Is there anything you miss about your
past experience? What do you value most about your current experience?
Music in Convergence
Most congregations will be familiar with
at least two or three of the musical
genres listed above. It is important to
note that the introduction of new
genres is not intended to change or
challenge the existing musical tastes of a
particular worshiping family. Moreover,
the introduction of various musical
forms is intended to enrich the
worshipping experience with variety.
Cherry (2010) concludes her overview of
congregational song by offering a
illustrative model (Circles of
Convergence) for how the nine varieties
of congregational song might be
approached (p. 175):
Circles of Convergence (Cherry, 2010, p. 175)
Christian Worship PC315/515
Page 15
Music in Worship © 2012 Dr Daniel K. Robinson
References
Begbie, J. (2008). Resounding truth: Christian wisdom in the world of music. London, UK: Society for Promoting
Christian Knowledge.
Chapell, B. (2009). Christ‐centered worship: Letting the gospel shape our practice. Grand Rapids, MI: Baker
Academic.
Cherry, C. M. (2010). The worship architect: A blueprint for designing culturally relevant and biblically faithful
services. Grand Rapids, MI: Baker Academic.
Duncan, J. L. (2009). Traditional evangelical worship. In J. M. Pinson (Ed.), Perspectives on christian worship: 5
views (pp. 99–123). Nashville, TN: Broadman and Holman Publishers.
Evans, M. (2006). Open up the doors: Music in the modern church. London, UK: Equinox Publishing Ltd.
Fromm, C. (2011, November/December). Singing as communication. Worship Leader, 20, 32–33.
Hayford, J. W., Killinger, J., & Stevenson, H. (1990). Mastering worship. Portland, OR: Multnomah Press.
Hughes, R. K. (2002). Free church worship. In D. A. Carson (Ed.), Worship by the book (pp. 136–192). Grand Rapids,
MI: Zondervan.
Hustad, D. P. (1994a). Music in the worship of the New Testament. In R. Webber (Ed.), Music and the arts in
Christian worship (Vol. 4). Nashville, TN: Star Song Publishing Group.
Hustad, D. P. (1994b). Music in the worship of the Old Testament. In R. Webber (Ed.), Music and the arts in
Christian worship (Vol. 4). Nashville, TN: Star Song Publishing Group.
Kauflin, B. (2008). Worship matters: Leading others to encounter the greatness of God. Wheaton, Illinois:
Crossway Books.
Leader, W. (2011). A brief overview of the history of Christian music. Retrieved 5 September, 2012, from
http://worshipleader.com/worship‐leaders‐2/
Payne, T. L. (2001). Music in the evangelical tradition. In W. A. Elwell (Ed.), Evangelical dictionary of theology (2nd
ed., pp. 800–803). Grand Rapids, MI: Baker Academic.
Pierson, M. (2010). The art of curating worship: Reshaping the role of worship leader. Minneapolis, MN:
Sparkhouse Press.
Robinson, D. K. (2011). Contemporary worship singers: Construct, culture, environment and voice. Unpublished
Dissertation, Griffith University, Brisbane, QLD.
Sweetman, J. (2012a). Defining corporate worship: Module 2. Unpublished Learning Guide. Malyon College.
Sweetman, J. (2012b). Defining corporate worship: Module 4. Unpublished Learning Guide. Malyon College.
Wilson‐Dickson, A. (1992). The story of christian music: From gregorian chant to black gospel; an illustrated guide
to all the major traditions of music in worship. Oxford, England: Lion Publishing.