music in christian worship

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

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)



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)



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.



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)



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)



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.



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)



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)



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



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.



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



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.



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)



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music in christian worship

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