During the last part of the 20th century and the first decade of the 21st century the face of the church has been going through earth shattering changes. The last 500 years the church has mostly consisted of people who were white, European and lived north of the equator. This has changed and continues to change in unprecedented ways. The mold of the church is now darker skinned, African, Asian and Latin American from south of the Equator.
Most of what the Western church would refer to as “real worship music” is not indigenous to the vast majority of today’s ethnically diverse church. Music started before the world was ever created. Before the great flood of Noah’s time Jubal was said to be the first of all who play the harp and flute. (Genesis 4:21 NLT)
Let me give you a personal observation. Various cultures, generations, individuals and movements within the church and church history each have music that appeals to them and that enables them to worship. A common practice for people is to claim that the music that appeals to them is ‘real worship music.’ “That’s not real worship or they aren’t really worshipping’ is a statement that I have heard people declare regarding forms of music that didn’t appeal to them.
The dilemma for each of us is that the music that God used to speak to us and to our generation becomes sacred. People who came before us really didn’t know ‘true worship’ and people after us ‘aren’t really worshipping.’ The music that God used to touch our lives and change people in our time period must be the most important and the ‘real worship music.’
When I think in those terms and talk in those terms aren’t I really saying: “When God chooses a CD or downloads a song to listen to (HE IS THE AUDIENCE AFTER ALL!!!!), the music God chooses is the music that appeals to me. God and I like the same kind of music.” “It moves us!” “In spite of the diverse music of the various periods in history, various cultures, various generations, various church movements and the incredible diversity in music appeal I’m sure that God chooses my music.”
When stated that way, the whole discussion seems a little foolish.
The reality is that God made us unique people and told us to worship him and adore him in unique ways and that He loves the diversity!
Now you know my opinion! --- The controversy around music continues! Matt
Friday, January 27, 2012
Wednesday, January 11, 2012
Music, Instruments, Worship and Singing – How About This History? Part 9
Here is some food for thought:
“If worship transforms us into kinder, more loving people, then why do we fight over worship?” Paul Basden
During the 19th and 20th centuries ‘freedom of style and independence’ in the area of worship was promoted from many corners of the church. This ‘freedom’ is what history now ironically called the "Liturgical Movement."
Religious music experienced a makeover to fit changing and evolving congregations. Liturgies were simplified and often translated into the language and culture of different people groups. The ‘Liturgical Movement’ sought to safeguard the history of the traditional music in the church all the while designing a style of music that would meet the needs of a more modern church attendee.
Music was not only simplified but was integrated into the worship service. Pastors, writers and composers once again wrote religious words that were sang to common folk melodies. The use of common melodies encouraged congregations to join in the singing. Examples of famous hymns set to popular tunes are "Amazing Grace" and "There is a Fountain."
Throughout the 20th century the debate about Christian music has gone through a range of seasons and storms in various movements. Some movements, who were once ridiculed and criticized for the adoption of ‘worldly’ music, songs or ways, have now become the movement that ‘is holding firm’ and ‘is not compromising.’ Each generation experiences in some ways the chastisement of the previous generation for ‘not really worshiping’ and for being shallow and entertaining. Ironically within a few short decades the chastised become the chastisers.
The latter part of the 20th century has been a repeat in many ways of the last 2000 years. A new musical idea once again transformed the music of the church with the introduction of what is often referred to as ‘Contemporary Christian Music.’ From the folk rock of the 70's, with its guitars and drums, Christian music morphed again with the rap groups of the 21st century. Christian music continues to evolve with artists who aspire to preserve the message of the church while meeting the needs of an ever-changing world.
The controversy around music continues! Stay Tuned for the final episode – Part 10
“If worship transforms us into kinder, more loving people, then why do we fight over worship?” Paul Basden
During the 19th and 20th centuries ‘freedom of style and independence’ in the area of worship was promoted from many corners of the church. This ‘freedom’ is what history now ironically called the "Liturgical Movement."
Religious music experienced a makeover to fit changing and evolving congregations. Liturgies were simplified and often translated into the language and culture of different people groups. The ‘Liturgical Movement’ sought to safeguard the history of the traditional music in the church all the while designing a style of music that would meet the needs of a more modern church attendee.
Music was not only simplified but was integrated into the worship service. Pastors, writers and composers once again wrote religious words that were sang to common folk melodies. The use of common melodies encouraged congregations to join in the singing. Examples of famous hymns set to popular tunes are "Amazing Grace" and "There is a Fountain."
Throughout the 20th century the debate about Christian music has gone through a range of seasons and storms in various movements. Some movements, who were once ridiculed and criticized for the adoption of ‘worldly’ music, songs or ways, have now become the movement that ‘is holding firm’ and ‘is not compromising.’ Each generation experiences in some ways the chastisement of the previous generation for ‘not really worshiping’ and for being shallow and entertaining. Ironically within a few short decades the chastised become the chastisers.
The latter part of the 20th century has been a repeat in many ways of the last 2000 years. A new musical idea once again transformed the music of the church with the introduction of what is often referred to as ‘Contemporary Christian Music.’ From the folk rock of the 70's, with its guitars and drums, Christian music morphed again with the rap groups of the 21st century. Christian music continues to evolve with artists who aspire to preserve the message of the church while meeting the needs of an ever-changing world.
The controversy around music continues! Stay Tuned for the final episode – Part 10
Friday, January 6, 2012
Music, Instruments, Worship and Singing – How about this history? Part 8
Here is some food for thought:
“If worship transforms us into kinder, more loving people, then why do we fight over worship?” Paul Basden
In the 18th century as population, travel, printing, mass manufacturing and standardized education increased, church music style and preferences stretched further than it ever had before. Christian song writers and composers "borrowed" familiar melodies from the secular world and popular songs were rewritten using religious words.
During this time hymns, anthems, and choruses were composed for congregational participation in both Catholic and Protestant churches. Throughout this era the same melody was often used as a hymn and a cantata or mass. For example, Bach's Cantata #80 is based on the hymn "A Mighty Fortress is our God." Beethoven's Ninth Symphony and "Joyful, Joyful, We Adore Thee" share a melody line.
‘Spirituals’ is the label that was given the songs, anthems and chorus sung by the slaves, in the southern states, during this period. The spirituals brought comfort, community, hope and a connection to God. Much of what has happened in the music industry over the last 200 years, including in the church world, has been a mixing of popular, familiar and cultural music. These music styles and preferences have been adopted by different groups of believers and used as their expression worship of God.
The use of ‘borrowed’ material from the world and visa-versa is not new. Musicians have been ‘borrowing’ melodies, rhythms and styles in every setting for generations. The instruments, melodies, styles and environments may have changed but the controversy of what constitutes true worship music has always been there.
Stay tuned for Part 9.
Matt
“If worship transforms us into kinder, more loving people, then why do we fight over worship?” Paul Basden
In the 18th century as population, travel, printing, mass manufacturing and standardized education increased, church music style and preferences stretched further than it ever had before. Christian song writers and composers "borrowed" familiar melodies from the secular world and popular songs were rewritten using religious words.
During this time hymns, anthems, and choruses were composed for congregational participation in both Catholic and Protestant churches. Throughout this era the same melody was often used as a hymn and a cantata or mass. For example, Bach's Cantata #80 is based on the hymn "A Mighty Fortress is our God." Beethoven's Ninth Symphony and "Joyful, Joyful, We Adore Thee" share a melody line.
‘Spirituals’ is the label that was given the songs, anthems and chorus sung by the slaves, in the southern states, during this period. The spirituals brought comfort, community, hope and a connection to God. Much of what has happened in the music industry over the last 200 years, including in the church world, has been a mixing of popular, familiar and cultural music. These music styles and preferences have been adopted by different groups of believers and used as their expression worship of God.
The use of ‘borrowed’ material from the world and visa-versa is not new. Musicians have been ‘borrowing’ melodies, rhythms and styles in every setting for generations. The instruments, melodies, styles and environments may have changed but the controversy of what constitutes true worship music has always been there.
Stay tuned for Part 9.
Matt
Subscribe to:
Posts (Atom)