In our previous installment, we delved into the era of John Newton and Charles Wesley. These two figures left an indelible mark on the history of religious music despite their contrasting paths to acceptance by the Church.
All organizations, including churches, resist change due to the potential for a shift in leadership, traditions, and doctrine. This fear is particularly evident in the ongoing debate between traditional and contemporary services and the accompanying style of music. Churches differ from secular organizations because they are based on faith, and grounded on history and immutable principles. Change must be weighed considering the preservation of core tenants, and this is difficult in a world that is changing as rapidly as ours seems to be today.
Maintaining Traditions and Serious Religious Practice
In Wesley’s time, the Church of England had an aversion to hymns. The Church was deeply rooted in centuries-old rituals and viewed hymns with a wary eye. These “mob songs,” as they were sometimes scornfully referred to, ignited fervor and emotion. The church establishment feared that hymns might lead to disorderly conduct that would stir up the passions of the faithful beyond what was considered appropriate.
Despite the Church of England’s initial dislike of hymns, these musical expressions of faith persisted. Charles Wesley emerged as one of the most prolific hymn writers ever. His compositions, rich in theological depth and poetic beauty, found a place in the hearts of believers. The Church of England could not entirely suppress the irresistible urge to sing.
So, hymns took root in the quiet corners of English chapels and parish halls. They became the “soundtrack” of devotion sung by ordinary people. Often, the people sang with tears, sometimes with joy. The mob of extremists, as the establishment saw them, continued to raise their voices, defying convention, and embracing the irrational beauty of hymns. And so, hymns endured, bridging the gap between the sacred and the everyday. They whispered hope, shouted praise, and carried the faithful through trials and triumphs. Their irrationality revealed something profound: music, even when sung by a “mob,” can touch the divine.
This issue of maintaining church traditions and slowing change when we perceive it as less Biblical and more commercial remains relevant throughout the Church’s history. It underscores the importance of what came before, what we do now, and what we will do in the future. Church music is a continuous thread through the church that was as true in Wesley’s time as today. Before this era, hymns were not sung during any service in the Anglican Church. Congregations instead repeated Psalms rhymetically until things began to change.
“The exciting new music suited the exciting new texts; together they described, recalled, and urged conversion. This new kind of hymn drama is distinct from Watts’s baroque kind. It is less studied, less painful. It is prone to the sweeping gesture and to enthusiasm. Its lasting achievement and appeal is evident in John Newton’s conversion hymn, ‘Amazing Grace’.”
As always, the traditional gave way to the contemporary and controversial. What it replaced had become out of step with the change in worship formats. The revival of the 1740s had spawned a shift in worship format and style.
A Bridge to the Past in My Life
When I was growing up in the 1950s and 1960s, there was a tradition we knew as “Responsive Readings.” These were often based on Psalms and recited in a format where the minister read one stanza, and the congregation responded with a connecting stanza. I looked forward to these because they were a form of service participation requiring no singing. (I was kicked out of our children’s choir at about eight for my disruptive voice.)
As I write this, I wonder if the responsive reading was a bridge to the past within Methodism. Was this practice a nod to where we came from and showed how worshipers performed this ritualistic and rhythmic chanting? If so, we glimpse the world Wesley replaced with his outstanding but controversial hymns.
Even though Wesley’s hymns were loved and enjoyed in my childhood, they were not the be-all and end-all of church music. Just as Wesley’s hymns ushered in a new era, we see a new form of music that shares space with traditional hymns. With some certainty, we can say that Wesley’s body of work is so deeply rooted in faith that it will be here for centuries, but it does not always resonate with new, younger, or potential worshipers.
The Contemporary Christian Music Scene
For decades, we have seen the introduction of contemporary worship services in many, if not most, churches. Churches are at a crossroads where they must preserve the traditional service for older members while providing a more contemporary format for younger worshipers. This is no different from Wesley’s time; it is just that the definition of traditional and contemporary is shifting, as it always has.
But if there is to be a Fifth Awakening, churches must learn from each other what appeals to worshipers and potential worshipers. In our churches, “contemporary worship” has been used to describe a slight shift by introducing different instruments and a few newer songs. Those who enjoy the new format and songs have little reason to question their origin. But we are entering an even newer era where the word “contemporary” describes a more significant shift in worship format. It is predictable, even right, that both clergy and parishioners question the shift. The best of what has come down to us through the ages must be preserved, even as worship formats shift.
The Word of Faith Movement
Critics of newer contemporary music often “lump” the music in with the sponsoring religious organization and its behaviors. I believe Contemporary Christian Music has developed along parallel lines but is beginning to separate with popularity and acceptance. The tight alignment I saw years ago seems to loosen as the music and vocalists become more recognizable and mainstream. The controversy within the associated ministries also appears to be forcing a divide.
The term “Word of Faith” movement was new to me until I began researching this change in music. The movement originated with E. W. Kenyon (1867 – 1948), a Baptist minister with the New Covenant Baptist Church and founder of the Bethel Bible Institute in Spencer, Massachusetts.
“Word of Faith is a movement within charismatic Christianity which teaches that those who believe in Jesus' death and resurrection have the right to physical health, that words have power, and that true faith is more than simply mental knowledge, but is deeply held belief that cannot be shaken.”
Apart from “have a right to physical health,” this might not be unusual. But as with all denominations and movements, the “devil is in the details,” and this is where critics and scholars often step into the discussion.
In more contemporary times, the concepts were taken up by Kenneth E. Hagin, who started in Texas and primarily pastored churches within the Assemblies of God ministries. In 1963, he formed the Kenneth E. Hagin Evangelic Association in Texas. In 1966, they moved to Tulsa, Oklahoma. Hagan died in 2003, and his ministries were passed on to his sons. Hagan’s teachings were very conservative based on his interpretation of the Bible.
Over time, the Word of Faith Movement expanded beyond the right to health to include “Prosperity,” this only heightened the main criticism. The “Right to Physical Health” concept was expanded to include a divine right to prosper in health, finances, marriage, and interpersonal relationships.
Once you expand the Word of Faith Movement’s definition, other ministries fall under that umbrella description. This association appears to be informal to me, but it is how those outside these movements begin to group them. The movement has its converts and believers and a sizable group of critics. At the extreme, these ministries are classified as cults by more mainstream denominations, and some do take on the mannerisms and appearances of cults.
Hillsong, Elevation, and Bethel
The list of those in this category would be long, but the three often mentioned are Hillsong, Elevation, and Bethel. These three are currently singled out for their success in using music as a lure to attract young worshippers to the church. The most visible is Hillsong because of its recent problems with a New York worship leader and its Australian founder, Brian Houston. This whole topic is too broad for articles like this one, but for my discussion, I want to focus on the Hillsong Church, its music, and criticism.
Since the abuse issues within the church surfaced, it appears to me that Hillsong has taken a gigantic leap backward in the United States, but in some other regions of the world, it continues to prosper. If this area of contemporary worship interests you, I recommend looking through my list of sources at the end of this article. I only scratched the surface, and it feels like drinking from a firehose.
The arguments of many music traditionalists can be many and confusing, but three that usually surface are:
- Contemporary worship uses commercial music.
- Contemporary worship has given us Christian superstars.
- Contemporary worship is ruining preaching.
In his article titled 7 Ways Contemporary Worship Is Starving the Church author Jonathan Aigner makes the point:
“Church, it’s time to do better. Instead of giving worshipers what they need, we’re merely giving them what they want, in the hopes that they will park their butts in our pews. Instead of offering them the well-balanced meal of liturgy, we’ve discovered that empty fast-food carbs are cheaper, easier, and addictive.”
With this final note of caution in mind, I set off to see what I thought about contemporary music, focusing narrowly on some of the most popular songs from Hillsong United. Next week, I will share my impressions and thoughts.
This series has required considerable reading and study, and the list of references grew so long that adding them to the end of each article proved distracting. I will link to them at the bottom of each article so that they stay handy.
You Can View All Articles in This Series with This Link
