[The following is an excerpt from a paper of the same title presented at the Evangelical Theological Society, Nov. 2010, and is based on a study of the theological themes presented from CCLI's list of the most reported songs in use for the past ten years. For a pdf copy of the complete study, you may request through the comment section at the end.]
From the beginnings of the early church, the songs sung in worship have been a reflection of what Christians have believed. The theology expressed through the text of these songs has declared the glories of the Incarnate Christ to the hope of the resurrection of the dead and Christ’s reigning as King of kings at the end of time. Hymnals have long produced a canon of worship songs of collected themes that expressed the beliefs and understandings of the faithful. With the rise of the use of multimedia in worship, the role of a theologically reviewed collection such as a hymnal has been modified so that worship songs made popular by Christian artists find themselves in use in congregational worship without having to go through the theological filters of a review of a hymnal committee before widespread use. What issues does this theological bypassing raise? Are there theological standards for this new growing body of hymnody that flashes across the screens of so many churches?
The texts of the songs in this study will be classified in part by utilizing Susan Wise Bauer’s idea of narrative texts, [“Protestant Hymn, Narrative Theology, and Heresy,” in Wonderful Words of Life: Hymns in American Protestant History and Theology, Richard J. Mouw and Mark A. Noll, eds. ] those centered on the believer’s experience and systematic texts which explore a point of Christian doctrine in a logical manner. Due to the number of texts that are biblical quotations or paraphrases, an additional category, entitled biblical texts, will be added. Some of the texts present a mix of both narrative and systematic elements, making the classification more complicated. In such cases the decision must be made to evaluate in which of the two it receives the most emphasis.
As with any study of this nature, recognition of its limitations and parameters is strategic in the interpretation of data. The study is limited to those texts reported to CCLI by participating congregations. Not all congregations are members of CCLI, the cost of membership is relative to the size of the congregation and no claim is made that every congregation participates in an equal fashion, since the reporting is voluntary. In addition, those texts which are public domain, that is, are no longer under copyright law restrictions, are not included in reporting process. At present there exists no simple way to gather the data from which public domain texts are being used because no similar entity exists to gather such data on the same scale and there is no legal or financial motivation for doing so. No attempt is made to evaluate the music related to the songs. Such work, however valuable, is best reserved for a separate study.
While these limitations are substantial and must not be passed over lightly, CCLI membership in North America and Canada now includes over 200,000 churches. Of this number, 20% are asked to report on a rotating basis every six months. Over the ten and one-half year period this study encompasses, the rotation would have included all participating members and would still represent a substantial number adequate for the present study. No attempt was made to include the use of songs in mass media, such as radio, television or the internet.
The ten-year period of the twenty-five most reported songs potentially could amount to 250 texts; however, due to some songs that remained on the list for more than one year, the study covered a total of sixty-four texts. More will be discussed in the conclusion; however, it must be noted that just because a song has only been on the list two or three times in the past ten years, does not mean that it is not as important, since it may have a recent copyright and thus could not have appeared any earlier. Songs that have repeated appearances obviously have some significance, but one needs be careful into reading too much into the data.
Analysis of the Narrative Texts
Of the sixty-four songs included in the study, forty-three (68%) may be listed as narrative texts, that is, the texts center on the believer’s personal experience, including admonitions to praise God and pleas for divine help. Of these forty-three, nineteen have systematic elements in addition to the personal experience reference. In the following table, the number to the right of the title represents how many times the song appeared in the CCLI listings. The reporting periods are marked in six month intervals for a total of 21 reporting periods, covering a total of ten years and six months. Biblical citations or biblical references within the texts are also notated. [table omitted for lack of space]
One of the above texts reflect hints of a modalistic view of the Trinity, but due to its relative brevity, the observations are not conclusive. In Sondra Corbett’s “I Worship You, Almighty God,” the author addresses “Almighty God” and as well as the “Prince of Peace” as one: “I worship You, Almighty God, There is none like You, I worship You, O Prince of Peace, That is what I want to do.” Generally speaking, but not exclusively, references to Almighty God would refer to the entire Trinity or to God the Father.
Almost half (19) of the narrative texts also have sections that may be described as systematic covering areas of God’s sovereignty, majesty, power, greatness, redemption, while only one has a Trinitarian reference and only one has an eschatological reference. A representative example of God’s sovereignty and character is found in Marc Byrd and Steve Hindalong’s “God of Wonders:” “God of wonders beyond our galaxy, You are holy, holy, The universe declares Your majesty, You are holy, holy, Lord of Heaven and earth.” A Trinitarian reference is made in the second verse of Chris Tomlin, Ed Cash and Jesse Reeves’ “How Great Is Our God:” “The Godhead, Three in One, Father, Spirit, Son.” The older hymn, “How Great Thou Art,” by Stuart Hine found renewed interest in contemporary hymnody because of its attachment to “How Great Is Our God.” This deduction was made by noting Hine’s song did not appear on the list until after the other had gained popularity, most likely because the two were sung as medleys or used together in other ways. “How Great Thou Art” was the only narrative text that dealt with the end times: “When Christ shall come with shout of acclamation and take me home, What joy shall fill my heart.”
Analysis of Systematic Texts
As stated previously, systematic texts are those texts which explore a point of Christian doctrine. Bauer’s original study dealt with metered hymn texts and the systematic presentation of a particular doctrine or doctrines. This study takes some flexibility in her approach due to the more prose nature of the texts and the instructive rather than narrative primary focus of the text. Again, Biblical citations or biblical references within the texts are also notated. [table omitted for lack of space]
The most common theological theme in these thirteen systematic texts (20%) is some aspect of the greatness of God, which is not surprising, since it was the most common among the narrative texts as well. However, there is a wider variety of other themes in addition to God’s greatness, such as the resurrection, eschatology, Christ’s birth, gratitude, the Trinity, atonement, creation, and evangelism. Jennie Lee Riddle’s “Revelation Song” is an example of a text that focuses on the greatness of Christ. In verse three, it is noteworthy that even though it is implied that the person singing is the one filled with wonder, the focus remains more on the character of Christ than the response of the person singing: “Filled with wonder, Awestruck wonder at the mention of Your name. Jesus, Your name is power, Breath and living water, such a marvelous mystery.”
“In Christ Alone” is perhaps the best and most complete example of a systematic text. Keith Getty and Stuart Townend are masterful in making each verse builds to the next and use rich imagery centering around the cross and the redemption story. For example, consider verse three: “There in the ground His body lay Light of the world by darkness slain. Then bursting forth in glorious day up from the grave He rose again. And as He stands in victory, sin’s curse has lost its grip on me, for I am His and He is mine, bought with the precious blood of Christ.” A simple yet effective Trinitarian text is found in Donna Adkins’ “Glorify Thy Name.” In typical Trinitarian structure, each verse begins with one member of the Trinity with a statement of worship and adoration, then end with a complementary doxology: “Father, we love You, We worship and adore You, Glorify Thy Name in all the earth. Glorify Thy name, glorify Thy name, glorify Thy name in all the earth.”
The themes of evangelism and eschatology are not common in these texts. Graham Kendrick’s “Shine, Jesus, Shine” centers around the reoccurring theme of sharing the Good News around the world in the refrain: “Shine, Jesus, shine, fill this land with the Father’s glory. Blaze, Spirit, Blaze, set our hearts on fire. Flow, river, flow, flood the nations with grace and mercy, send forth Your word, Lord, and let there be light.” In Robin Mark’s, “Days of Elijah,” there is a blending of various scriptural allusions to convey its eschatological message. Here’s an example from the refrain: “Behold He comes riding on the clouds, shining like the sun at the trumpet call. So lift your voice, it’s the year of Jubilee, and out of Zion’s hill Salvation comes.”
One of the systematic texts above reflects hints of modalism. In the verses of Rich Mullin’s “Awesome God,” the text mentions how God evicted Adam and Eve out of the Garden and then in the next line addresses the same “He” as the one dying on the cross: “Our God is an awesome God, And the Lord wasn’t joking When He kicked ‘em out of Eden, It wasn’t for no reason That He shed His blood.” A similar section is found in the second verse: “Judgment and wrath He poured out on Sodom, Mercy and grace He gave us at the cross.” The use of personal pronouns in English adds to the blurring of the understanding of who is responsible for the actions.
Analysis of Biblical Texts
The remaining eight texts (12%) fall in to a category that Bauer did not have, that of texts that were essentially quotations from Scripture. One characteristic of some of the contemporary genre is a musical setting of Scripture that is not restructured by metrical limits. One might call this type of song a new psalmody, harkening back to the days of the psalters. [table omitted for lack of space]
Some of the texts are direct quotes from the Scripture, such as Laurie Klein’s “I Will Call Upon the Lord (Ps. 18:3, 46):” “I will call upon the Lord who is worthy to be praised, so shall I be saved from my enemies.” Others paraphrase portions of Scripture, as in Naida Hearn’s “Jesus, Name Above All Names:” Jesus, name above all names, beautiful Savior, glorious Lord, Emmanuel, God is with us, blessed Redeemer, living Word.”
Conclusion
Given the limitations previously stated, that is, the lack of hard data as to what songs in public domain are being used in the churches that participate in the surveyed reports, and the fact that although there are substantial numbers of congregations that do participate in the CCLI, the results are representative, at best. What can be said about the most often used songs over the past ten years? Beginning comments must underscore that the song of the church is alive and well, it is not stagnant, and it continues to grow. To start anywhere else misses the point that the church has an unquenchable desire to worship and to do so with a new song. Another matter of rejoicing relates to the growth in the public expression of the worship of the nature and character of God. It is difficult to remember when the focus of worshiping God in all his attributes has become as important as it is now.
Along with the good news are some concerns. The variety of the theological themes being sung is very narrow. The CCLI reporting process only allows for the top twenty-five songs, so it is possible that other songs were being used; however concern must be expressed for the lack of some major themes that seem to be lacking. The limited number of theological themes may reflect a shallowness in the theology of the authors, or weakness in the ability to articulate more encompassing theological truth. For example, only two songs with an evangelistic missions theme made the list, only four even mention the Holy Spirit, only two have some focus on God’s Word and some themes are not represented at all, such as the church as the Body of Christ, and judgment.
The majority [68%] of the texts are narrative, that is, the focus is personal experience, even with those texts which contain systematic elements. At times, one might consider some of the texts too internally focused. For example, consider the lines from the following texts: “You took the fall and thought of me, above all” [Above All]. The purpose of the atonement was not just for one person, but to appease the wrath of God, which resulted in pardon for all those who would respond to God’s grace. Sometimes in corporate worship, the personal pronoun “I” or “my” is used in a communal sense, more than just a personal experience. However, care must be taken with those texts that are designed for corporate worship that the expressions used are experiences common to all believers, and not just the personal experience of an individual.
The central focus and goal of the text must be consistent. Consider the following: “All hail King Jesus, all hail Emmanuel, King of kings and Lord of Lords, Bright Morning Star, and for all eternity I’m going to praise Him, and forevermore I will reign with Him” [All Hail King Jesus]. The song moves from praising Christ to a climax that rejoices in a position of personal power. Another one of the texts might easily be taken as a popular love song: “And I, I’m desperate for You” [Breathe]. The focus could easily be interpreted more on personal desperation, than fulfillment in Christ.
While repetition in and of itself in not uncommon even among the Gospel song tradition, too much repetition of personal pronouns may be problematic: “I am a friend of God, I am a friend of God, I am a friend of God, He calls me friend” [Friend of God]. Some confusion lies here with the personal emphasis. As Kimbrough reminds the reader, “the singing of hymns and spiritual songs should not be a manipulative process for the self-edification of worshipers.”[Kimbrough, The Lyrical Theology of Charles Wesley: A Reader] The goal of corporate worship is the adoration and glorification of God. Even though corporate worship ministers to the individual participant, the goal of worship must not deteriorate to seeking God for the personal self fulfillment.
While it is desirable and necessary that new authors and composers rise up to fill the needs of their generation’s expression of worship, the need for sound doctrine is just as great. Worship leaders must become sufficiently adept in theology to recognize doctrinal weaknesses and how to correct the textual issues, or when to refrain from using a text entirely. With the new song we need not fall into the trap that C. S. Lewis called “chronological snobbery,” thinking that only the newest is the best and worthy of use. Balance is needed, balance in the use of older text and new, and balance in covering all of what is believed, lest a generation is raised having never heard the entirety of the great doctrines of the faith expressed in sung texts.
In addition to balance, deliverance from chronological snobbery, and modalistic confusions about the Trinity, care must be taken that the universalism of postmodern thought not be allowed to pass through the theological filters for congregational song. The postmodern cries that the only reality that exists is that which the individual creates for himself or for herself might easily find itself in worship proclaiming its message of the absence of absolute truth. Focus must be continually given to texts that are well written, well chosen and appropriate for the context presented and well executed in order to communicate biblical truth shared as a part of worship in the most effective manner possible. The Apostle Paul reminds us that we need to “sing with the spirit, and sing with the understanding also” (I Cor. 14:15).
Showing posts with label weak theology. Show all posts
Showing posts with label weak theology. Show all posts
Thursday, January 6, 2011
Sunday, March 28, 2010
What Makes a Song “Congregational?”
Practical Helps for Worship Leaders
In any given worship service, some songs “sing” for lack of a better term, while others never seem to get off the ground. Why? There are a host of answers, but one many times overlooked is analyzing the song to see if it is congregational. What makes a song “congregational?” I’m sure there are more factors than these, but here are some considerations that might help answer the question:
1. Is the text biblical? The text must be consistent with biblical truth. Today there has been a re-awakening of paraphrased biblical texts and older traditional texts to fresh melodies and “troped”songs like “O the Wonderful Cross”, which adds amplifies Mason’s “When I Survey” and “My Chains Are Gone” which modifies “Amazing Grace.” [Tropes were melodic and textual additions to well-know chant melodies that took on a life of their own during the Middle Ages.] The word of caution here is the need of a “theological filter.” Denominational hymnals are required to go through a committee well prepared to filter theological weaknesses and errors. Some of the songs in the CCM {Contemporary Christian Music} are based on biblical themes, but have not been analyzed for theological content.
The music industry itself is partly to blame for this. Record companies contract album deadlines, push tours, and sometimes songs are hastily put together to comply, so if it “sounds ok,” then they go with it. In addition, many albums are designed with a few lead songs that are pushed for air play and the rest are filler. The radio stations depend on market share of listeners, that is, maintaining their nich market of listeners and feeding their wants through the airwaves. Most of the time their emphasis is the “latest and greatest,” not being a theological filter; since that’s how they stay in business.
With the advancement in home recording systems and the internet, the need for theological filters is even more necessary, since virtually anyone with access to the equipment can put a song on YouTube without any doctrinal accountability. Many of the artists are sincere believers, but have no formal theological training. There are some contemporary artists that are more careful than others. The emphasis here is that before a song in used in a congregational setting, it needs to be checked to see if the theology expressed is consistent with what Scripture teaches. [Another thing to remember is the simple fact that the Bible mentions something, doesn't necessarily mean that it teaches it. The Bible says that Judas hung himself, but that doesn't mean we need to go out an follow his example.]
2. Does the text speak to experiences common to believers? The joy of conversion, the greatness and majesty of God are common experiences to those who name Christ as Lord and Savior because they are ones in which the congregation may identify. Songs that tell of a personal experience that are unique to a particular person, or just a small group may serve well as songs of testimony, but may not be the most appropriate for the congregation. We must remember that worship is not
3. Is the melody of the tune really singable? At first, this may sound somewhat elementary, but in a day when a large portion of worship songs are taken from group or solo recordings, it is a great question to ask. Just because a group records a particular song, does not automatically make it a viable option for the congregation. Some songs were designed to be “listened to,” more than “sung with.” As long as they do not fall into the trap of becoming
A. Many artists are tenors, and the recordings are done in a range that is comfortable for them, not for the average vocally untrained person in the pew. A quick check is to see how many people are really singing. If a song is too high or too low the majority of the congregation will just not participate. When in doubt, the leader can make arrangements ahead of time to lower or adjust the key to make it more accessible for the congregation. It may be harder for the leader, but it’s not about the leader, it’s about the majority of the body of Christ being able to express itself corporately.
B. Sometimes the rhythm and melodic line of the song is so much like recitative, or like spoken text and almost defies everyone singing together. There again, soloists, or small groups pull it off, but only after hours of practice. In a large group, the textual intelligibility vaporizes as far as understanding the text, and frustration can set in trying to stay together. This type of song is difficult for the congregation, and may not be the best choice if the focus is facilitating congregational participation.
C. Good melodies are memorable; they have “hooks” that keep pulling the singers back into the song and have some sense of internal repetition that helps the ear in learning the melody. They have a recognizable structure. They have melodies that are sung in the hearts of the congregation during the week when no one else is around. Songs that change structure with each verse or line and unpredictable melodic jumps are much more difficult to learn. [For further study in this area see John Wilson's Looking at Hymn Tunes: The Objective Factors]
4. Is the song of lasting character, or is it more of a temporal filler? Songs that are based on cultural fads or are “ear
5. Can the congregation follow? When a song is new, the congregation must learn both new text and melody. Obviously the words may be on some screen or printed text, but rarely any more is there any written music. Even when hymnals were in use, the majority of the congregation really couldn’t read the notes. This means that the congregation is dependent on learning the melody from hearing it sung and played. In guitar-driven worship, the learning of the melody is limited to the ability of the singer to lead with the voice, since chordal accompaniments lack melodic support. A great aid in correcting this deficiency is to use the piano, keyboard, or organ, which can help carry the congregation’s melodic line. The less familiar the song, the more important melodic support for the congregation is necessary. Sure it can be done without it, but melodic support makes it more effective.
Now What? Corporate worship is different than gathering a group of individuals together just to sing. Corporate worship is dependent on a group of believers focusing on the worship and adoration of Almighty God. Something very special happens when that group comes together to express praise as the Body of Christ. Effective corporate worship is not dependent of a set of steps that guarantee success. There are no magic buttons to press that results in the corporate focus on God and His nature and character. Corporate worship means that the Body of Christ is participating. It the congregation is not participating, it is not corporate worship.
As far as the leader is concerned, personal preparation is indispensable; we cannot take people where we have not been. Corporate preparation is indispensable; congregations don’t just flip a switch and transform into a body of worshipers without conscious action. There are some things we can do to facilitate corporate worship, one thing is to make sure that what we use in worship is “congregational.” A wise worship leader is aware and continually evaluates each song of each service with these things in mind.
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