Monday Morning Music Ministry

1-18-16

My wife and I were a little late for church one Sunday in San Diego about 10 years ago. In the lobby we saw an elderly lady, frail and looking lonely, sitting against the wall. We paused to ask if she needed assistance.

“No,” she explained, “I always wait out here until that awful rock and roll stops. It’s always so loud, and I still can’t hear the words or sing along.”

That poor lady’s reply encapsulated something I had felt, myself, for a long time; and even more so in subsequent years. I have groused before friends and in speeches. I have listened to laymen and argued with pastors and worship leaders. These are not the words of a cranky music critic, but from someone who is concerned that church music in America has morphed from Worship to Watching; from Praise to Performance; turning the congregational worshippers into concert audiences.

It is not even a matter of wanting arbitrarily to preserve ancient music and traditional hymns – my readers know that I enthusiastically offer up Christian music from chants of the Middle Ages to Southern and Black gospel. Rather, the transformation of church music says something about the culture in general – not just our expressions of spirituality. It reveals something that should have us troubled.

The transformation of church music across the American landscape (not in every church; but every Christian will know what I mean) has been rapid and fundamental. It goes to the notion of corporate worship. It is essential to our identification as believers in God and followers of Christ. It is a manifestation of the nature of our faith, the validity of faithfulness, the object of our faith.

Well before I encountered that “orphaned” elderly lady a decade ago, I was talking about this general topic to Dr Bill Bright, founder of the mighty organization Campus Crusade for Christ. Agreeing with my critique, he referred to “7-11 music,” which I assumed meant the ubiquitous Muzak we hear in stores and elevators. But he said he meant church music that repeated the same seven words 11 times. That states the formula.

In formal terms, hymns are sermons in song, stating biblical themes or exhortations. Look at the words of traditional hymns: they describe the situation of the world and the position of Christians in it; challenged, threatened, but hopeful. The difference with songs – gospel songs, revival tunes, camp-meeting music – is more than the simpler harmonies and popular melodies. Gospel songs that live today in white Southern Gospel and Black Spirituals feature choruses to which singers return between verses.

The “contemporary” “worship” music we refer to here is similar to the earlier forms… but far different. Some of it purports to praise God, but its praise is diluted by the lack of focus or substance, characterized by those endlessly repeated lines. In truth, much of it is “me” oriented. Examine lyrics and see how often the first-person pronoun “I” is used. The emphasis is on the singer (more than God?), on how we feel (instead of worshiping or understanding Him), or what we receive from the musical experience.

None of these impulses is wholly bad. Of course. But the up-ending of church music does not end there.

In the Apostolic days of the young church, music was not particularly encouraged. Saint Cecilia reversed that attitude (and is honored as the Patron Saint of Music) and for a thousand years or so, music accompanied worship. Sometimes somber, sometimes joyously, eventually in certain liturgical orders. In Luther’s time the congregation was encouraged to sing, in ever-expanding portions of the service; beyond chanting and the liturgy, to hymns. For almost half a millennium, church music has included settings of the service; cantatas; anthems; choruses; and hymns. And it has been inclusive of worshipers… an integral part of our service, our worship.

But the new music that has overtaken traditions so quickly has done more than supplant Luther, Wesley, and Fanny Crosby with Pop, Folk, and Rock ‘n’ Roll. It has changed the essence of music’s role in Christian worship.

Plugging in the amps has unplugged the purpose of musical worship.

From that AG church in San Diego to my daughter’s Lutheran mega-church in Michigan, from “Seeker-Sensitive” churches in the heartland to evangelical churches in the South, the stages are set the same:

Worship leaders who instruct the listeners when to smile, when to clap, when to stop and hug their neighbors;

Musicians who wear casual, even dirty, clothes;

Solo singers who attract the spotlight, musicians who take “hot licks” between the choruses;

Words sometimes projected on screens – never the music, never the music, which leaves newcomers confused and makes the words confusing;

Hymnals are almost regarded as toxic relics, and printed songsheets without music are worthless… but they would serve futile purposes anyway, because few people sing in their seats (or, when instructed to do so, standing);

Audiences – because that is what they literally have become – seldom sing. They might clap and sway; and, in some churches, raise their hands. But they are audience members of Sunday-morning concerts, plain and simple.

Do you disagree? See how often these audiences applaud after each performance’s song (it used to be anathema to applaud in a church). Take note of the elaborate (if deceptively sparse) staging and sets; the lighting, the video effects, the close-ups where cameras “kiss” the soloists. Listen to your neighbors’ comments about the singer’s voice or the guitarist’s solo riffs (compared to the comments on the sermon).

Too many of us are going to shows, not church. We savor presentations, not prayers. We are presented with performers, and we are less concerned with seeking the Savior. People are encouraged to love the worship… but how often to love Jesus?

Yet the formula is followed as rigid dogma would be: drums, loud solos, emotional effects, a concert atmosphere, sloppy dressers, regimented applause. Who needs those old hymns? OK, they touched people and turned souls to Christ for 500 years? But… this is the 21 century!

These churches reveal a Post-modern mindset about eternal standards: they regard few things as eternal, and standards can shift with the times. Heretical, really.

The churches are saying that they will change almost anything in order to be “relevant.” No matter if those kids visiting the pews are bored by the Contempo Lite up on the stage. Even youngsters realize that today’s American church has few standards, and is willing to stand on its head – even to offend lifelong Christians like that old lady in San Diego – to put on a good show. “How sincere are they,” that young visitor might ask, “about their theology, too?”

Good question. Bad music. The Gospel message itself is sweet enough – sometimes hard enough, yes – to draw all people unto the Savior. Traditional musical, mighty hymns, persuasive songs, support the Good News preached to all men. “Music” that drowns it out… works against the Message people need to hear. The Church’s one foundation… is cracked?

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In the world… of the world. Post-Modern, Post-Christian. What’s the difference?

Click: The Church’s Worshiptainment

4-1-15

I recently have quoted St Augustine, from more than 1500 years ago, to the effect
that “He who sings, prays twice.” In the early days of the church, it was music
that helped attract worshipers… and was, naturally and powerfully, an irresistible
means to praise God and express joy.

Before the church fathers (and mothers; St Cecilia becoming the Patron saint
of Music) Plato identified not only music but harmony as capturing – as best
humankind could – the abstract but Perfect Good that reigns over us. Plato did not
particularly ascribe it to the manufactured Greek gods, but he believed that there
existed an Absolute Truth; and that, even if we could never fully know it, humans
are ennobled by seeking it. Although he lived 300 years before Jesus, the early
church recognized his philosophy in some ways as proto-Christian; and many of
them were neo-Platonists.

So the musical impulse, in many ways, was concurrent to the institution of
worship, formal and informal. Plainsong and chants predominated, and in the
evolution of corporate worship, the trends moved from singing individuals to
ensembles and choirs. In the Gothic era, polyphony – “many sounds,” part-
singing, basic harmony – entered church music. There was actually a time when
the Roman church considered banning harmony as rebellion against tradition, but
the impulse of reformers from Luther to Bach opened the floodgates of glorious
harmonies, attractive melodies, the regal organ, full organs, and the resumption of
congregational singing.

This is a brief introduction, in Holy Week, to a brief introduction to the history of
church music. Linked here is a 90-minute BBC-TV documentary on sacred music,
using Easter themes as the touchstone.

It covers approximately a thousand years of Western church music, from Plainsong
to Polyphony, simple chants to the complex but captivating musical expression of
J. S. Bach. The setting is St Luke’s in London, staged as a reverent mixture of the
ancient and modern. There is tasteful narration between numbers. It ultimately is
a concert, not a church service, and I hope the occasional audience applause is not
disconcerting.

If you are a person who enjoys listening to the Messiah at Christmastide, or even
if you are not, sometime during Holy Week you should find this interesting.
The church’s heritage; musical history; the sweep of cultural changes; artistic
expression of another time, almost another world, are here. And, by the translation-
subtitles of chants, songs, choruses, and motets, the essence of the Easter story is
told.

… as, maybe, only music can bring it to our souls.

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Click: An Easter Celebration