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In recent weeks, I have received a considerable number of letters, articles and comments on the question of contemporary-versus-traditional music in our churches. Most of these take one side of the argument and make charges against the other side: "Contemporary music is simplistic, overly emotional and theologically suspect" or "Traditional music is boring and irrelevant". I have no intention of publishing most of these articles. I have no desire to rekindle the acrid "hymns versus choruses" debate that filled the Herald Letters column several years ago (and is still raging in many congregations).
Nevertheless, some of the recent submissions contained some insightful comments. One of the best was by Isaac Eitzen of St. Catharines, Ont.; I am grateful for his permission to quote liberally from that article in this editorial.
One of the weaknesses of the debate as it is now being carried on is the assumption that there are only two categories of music in our churches--contemporary and traditional. If there are two sides, it is easy to divide up and fight. The reality, however, is that there are several kinds of music in use in our churches. Following are the main ones that I have discerned (although I admit that I am musically inept and others with more expertise may discern more exact categories):
* Classical music--Concord College excells at this kind of music, as does the Vesper Service at Bakerview MB Church in Abbotsford, B.C. Classical music is also found in a few of the older hymns that are sung in many churches. Classical music includes both older music (e.g., Handel's Messiah) and classical music that is being written today. (This is why the term "contemporary music" is not very helpful; there are many different kinds of music that are "contemporary".)
* Gospel music--Many of the songs that are often called "hymns" are really gospel songs, songs with an emphasis on conversion written during the evangelical revivals of the 18th and 19th centuries and sometimes set to the tunes of "beer hall songs". These hymns should not be confused with classical music because many of them are quite unsophisticated musically; they are catchy tunes that stay in the head--which is certainly not a bad thing.
* Country and western music--This kind of music is found most often, but not exclusively, in some Prairie churches, and in many of those communities it is probably mainstream music, the kind of music most people listen to outside of church.
* Rock music--This label probably fits the music at The Meeting Place in Winnipeg and contemporary services in a few other congregations.
* Elevator music--This is rock music with a classical touch, "light rock", the Beattles played by the Boston Pops. It is the kind of music used in many churches in British Columbia, and it probably comes closer to mainstream music in B.C.'s Lower Mainland than any other form of music. It is a compromise hybrid that is acceptable to a cross-section of people, but its broad appeal may mask its weakness--it may not be ministering to people at the extremes on the age spectrum--seniors and teens/young adults.
These, I think are the main categories, but there are a number of others: folk music (which influenced some of the "contemporary Christian music" of the 1960s), barber shop quartet music, Negro spirituals, heavy rock (louder than the Meeting Place), jazz. Most churches use a variety of styles, and many songs do not not fit neatly into any one category, particularly as they are adapted in different ways by different worship teams.
This is why the debate over contemporary-versus-traditional music is not very helpful. The categories are so imprecise that we end up misunderstanding each other. All of these kinds of music have strengths and weaknesses, but pointing out the weaknesses in another category while overlooking the weaknesses of our own is not very helpful (Matthew 7:1-5). I think all should be used in the church--if people will respond to a certain style of music, it should be used. This is in keeping with the approach of the Apostle Paul: "I have become all things to all men so that by all possible means I might save some" (I Corinthians 9:22).
I would also like to suggest certain guidelines that could be applied to all music in the church.
1. A distinction must be made between outreach music and worship music. When one is leading worship in a congregation of committed Christians, congregational participation (singing) is crucial. However, when one is presenting the gospel to an audience of seekers and nonChristians, performance is more important. You cannot expect nonbelievers to participate in the worship of a God they don't know, and asking them to sing in public may scare them away. Most of my remaining points refer mainly to worship music rather than outreach music.
2. Congregational music must be singable. Worship leaders must distinguish between easy and difficult music. Some classical music is difficult to sing, but so is some "contemporary music" with its lack of rhyme and symmetry and its many key changes. If music is simple and easy for a congregation to learn, then have the congregation sing it. If it is difficult, have the choir or the worship team or a small group practise it and then sing it in the worship service. Isaac Eitzen, in the article he submitted, notes that congregational music should not "leave out all those who cannot sing soprano". Some music is meant to be performed, and it is unwise to ask untrained amateurs to do something they are not capable of.
3. The songs must be biblically and theologically orthodox. There are some hymns and choruses I refuse to sing because I find their theology unacceptable. This criticism is often levelled at contemporary music, but some contemporary music is simply Scripture set to music. On the other hand, some hymns also have questionable theology. An old Baptist pastor used to say, "If you have something to say and it is too silly to say, put it to music and people will sing it--and if you don't believe that, just look at our Baptist hymnal!" Sometimes we do not examine carefully enough the music we sing. Music is a powerful teaching tool, and we must use it wisely. That is why worship leaders must be theologians as well as musicians.
4. The songs must be theologically balanced. Each category of music tends to emphasize some theological points and neglect others. Gospel music stresses conversion; praise music stresses praise. It is a good thing to sing, "I worship You", but if that is all I sing I may get the idea that I am primarily the one who takes the initiative when in fact it is God who is the primary actor. Isaac Eitzen notes that hymnals used to contain songs of worship, prayer, comfort, encouragement, evangelism, suffering, the return of Christ and many other topics; if current Christians learn only praise songs, he asks, what will they sing in times of disease, temptation, deprivation, persecution and death?
5. The music must balance head and heart. Sometimes contemporary music is criticized for being too emotional, and that is a legitimate caution. We should not get caught up in the moment and do something theologically or morally stupid. All church music should appeal to the emotions, but it should also appeal to the mind and the soul (Matthew 22:37).
6. There should be balance between music and other elements of the service. Eitzen notes that the teaching of Scripture (preaching) used to be the centre of our worship services, with prayer, fellowship and worship also being important; now worship music has become central, with prayer and Bible reading disappearing and possibly preaching as well. Eitzen asks: If we downplay teaching, how do we know whom we are worshipping? He also notes that "worship is much more than singing and music."
7. In all of these areas where I am calling for balance, the balance should be obtained over the long run, not necessarily in every service. Moreover, balance should not be confused with compromise. While many churches commend themselves for having a "mix" of music, many of them really only sing one style of middle-of-the-road music. A conference leader who read an earlier draft of this editorial suggested that churches would be more successful if they used more variety (a hymn sung as a hymn and a Christian rock song sung as Christian rock in the same service); the current trend is to sing both songs in the same middle-of-the-road compromise way which may really minister to no one.
8. The music should be God-focussed rather than entertainment-focussed or music-focussed. Leaders of all categories of music can fall into the trap of overvaluing music at the expense of worship. Church music should connect us with God. One test of the focus is this: When the worship leader interrupts the singing, does he/she do so to correct the music ("You missed the rest--or the flat--at the end of that line.") or to draw attention to the meaning of the words?
9. The music should be audience-oriented, not musician-oriented. Music should meet the spiritual needs of those listening to it, not satisfy the musical tastes of the worship leaders. Some worship leaders (of all categories of music) concentrate so much on their own playing or singing that they don't seem to notice whether the congregation is singing along or not. If the musicians are performing, then they should perform; if they are supposed to be leading congregational singing, then they should make eye contact and lead the congregation. Even when performing, they should be aware of the audience and try to discern if those listening are receiving a spiritual blessing or not.
10. The music style must be appropriate to the congregation. Eitzen says, "What works in Africa may not work in Latin America, and what works in a Latin culture may be foreign to a northern European mentality." In our context, there must be variety. Most congregations have a cross-section of people and should be offered a variety of music styles. If sufficient variety cannot be provided in a single service, then a variety of services should be offered.
11. The worship leaders must be sensitive to the needs of the congregation. Do people want to raise their hands or clap? Can the seniors stand for long periods?
12. We must all be tolerant, forgiving and loving. I will let Isaac Eitzen have the last word: "Is it the Holy Spirit who drives wedges between generations? Is a church spiritual when some threaten to leave the church unless they have their way in worship style? Is it right when change is brought about in churches by pressure groups? (Should) those who laboured for years to build up the church, become strangers in their own church? Does the Holy Spirit not inspire patience, tolerance, love and respect? . . . A church without young people has no future . . . a church that doesn't honour its older members has lost its lampstand before Jesus.".
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