There are a variety of reasons for the “worship wars,” as they are called. And for fundamentalist Christians, most of the arguments center on the worldliness or immorality of the very musical instrumentation itself — the contemporary, beat-driven sound that makes up CCM. Growing up, I was trained to recognize a strong beat in musical accompaniment and to envision that anyone singing to such music was worldly. As I started thinking through the subject in more detail, I wanted to find a Biblical argument for my stance against pop musical styles. And Frank Garlock and David Cloud had to suffice. Even then, I could see the arguments were quite weak, so most of the rationale had to depend on an analysis of the psychological affect of rock music on people and of all things, potted plants. Yes, plants!
Well, after I walked away from strict fundamentalism and re-evaluated my position on cultural matters in light of an open-minded examination of the Bible, I came to embrace contemporary worship and I was then able to really enjoy worshiping God in music to a whole new degree. I encountered deep, Christ-exalting lyrics (more meaningful to me than some of the shallow and almost trite hymns we sang growing up). And the music resonated with me – it moved me. It was like speaking in the language of my own culture — which I had been trained to deny and put down, but that really was a part of who I was. I was able to express myself in worship, to lift up my soul and exult in new, powerful ways. And I have since come to really appreciate the contemporary worship song for all its worth.
Don’t get me wrong. I still value the old hymns, and I value traditional music as well. I sing in choirs and enjoy harmony and special numbers. I also don’t enjoy any new song, indiscriminately. There is a lot of shallow music without much doctrinal depth out there, for sure. But there are some great songs which bridge the gap between traditional and contemporary. I have written, years ago now, on the Modern Hymn movement. UPDATE: USA Today just did a piece on the Gettys who I also feature in the article linked above. And I still enjoy a balanced worship approach that seeks to unite styles and generations, as well as ethnic affinities, together into a blended, unified, corporate celebration of worship. And I appreciate John Piper’s emphasis on gravity alongside our gladness in worship too.
Now, to the point of my post, after having come to where I am now on worship, I became aware of a newer position on music in fundamentalism. This position eschewed some of the more Gospel-ish hymns, and didn’t take to the sentimental songs that were written in the late 1800s and early 1900s. They took to more doctrinal-centered, high sounding hymns. And they also stressed “religious affections” — an approach which majored on appropriate feeling in worship, and stressed that God desired the best aesthetics in music. I didn’t get sucked into that movement, although it did seem appealing and intellectual. But it didn’t sit well, especially when it was not Scripture that was judging between various music forms but research and supposed universal aesthetic principles.
I say this to encourage anyone who is following me here, to go read Bob Bixby’s recent post pointing out some grave errors in this “religious affections” approach to music. This approach stresses that there is a right way of feeling, and that how you sing and what you sing in church, reveals if you are having right feelings toward God. It sounds right, but it isn’t. Of this movement, Bixby notes:
They’re separatists by condescension. They don’t practice separation; they practice superiority. And that separates them….
Theirs is a Christ-less conception of worship. It’s Gospel-free. It’s enraptured by form. It’s old-school fundamentalism. And it has little to do with the religious affections that Jonathan Edwards wrote about.
Bixby’s piece is worth reading if you have ever tended toward frowning on contemporary worship styles. If you have preferred traditional music, his post will help you examine your own heart. It will also show how this stance toward the worship wars can so easily turn into a pharisaicalism that looks down on others and in turn, becomes an empty shell of externally focused religion.
I have to quote one more bit from Bixby’s post before encouraging you to read the whole thing.
Consider the God-ward, God-glorifying form of the Pharisee in Luke 18:9-14. “I thank thee God that I am not like that poor Chris Tomlin singer over there who shuts his eyes and lifts up his hands with the pitiful, artless, crude hip-swaying style of corrupted orthopathy.” Ah, yes! The feelings of thankfulness were genuine in the Pharisee. He had, in fact, religious affections of sincere gratitude that God — indeed, he credited God! — had not made him as that poor loser in the corner, crying out to God with bad poise, seemingly unconscious of God’s glorious transcendence and preference for hymns. No one had more concern about form worthy of God than the Pharisee. No one.
Now if you really want more after reading Bixby, you could try to wade through this old post in my archives, with its 50 plus pages of debate on the subject of the morality of music! But you probably have better things to do!
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Several years ago I highlighted the advent of the “Modern Hymn.” Keith Getty and Stuart Townend, along with others, have revived and reinvented the hymn for our generation. The most well known modern hymn, is perhaps one of the best: “In Christ Alone.” This song ranks up there with other greats and is as widely sung and loved today as “Amazing Grace.”
