I fluctuate between the danger of pleasure and the experience of the beneficent effect, and I am more led to put forward the opinion (not as an irrevocable view) that the custom of singing in Church is to be approved, so that through the delights of the ear the weaker mind may rise up towards the devotion of worship. Yet when it happens to me that the music moves me more than the subject of the song, I confess myself to commit a sin deserving punishment, and then I would prefer not to have heard the singer.
—Augustine, Confessions, X, xxxiii
This emphasis on the use of musical sets to facilitate an experience of God erodes a classic understanding of Jesus Christ as the mediator between humans and God the Father. Typical use of CWM places expectations on music to mediate worshipers’ approach to God. . . . The need for Christ as mediator is itself lessened. Mediation is shifted to the music. Thus prayer in CWM is not to the Father through the Son but to the Son through music.
—Lester Ruth, “Lex Amandi, Lex Orandi: The Trinity in the Most-Used Contemporary Christian Worship Songs” in The Place of Christ in Liturgical Prayer, ed. Bryan D. Spinks, 354
Does God get a lot of the good verbs?
The books or the music in which we thought the beauty was located will betray us if we trust to them; it was not in them, it only came through them, and what came through them was longing. These things—the beauty, the memory of our own past—are good images of what we really desire; but if they are mistaken for the thing itself, they turn into dumb idols, breaking the hearts of their worshippers. For they are not the thing itself; they are only the scent of a flower we have not found, the echo of a tune we have not heard, news from a country we have never yet visited.
—C. S. Lewis, “The Weight of Glory”
Music is a wonderful tool. But it makes a terrible god.
—Bob Kauflin, Worship Matters Jul 7, 2017
Musical sequencing cannot, of itself, produce an encounter with God. Only the Holy Spirit can do this and regularly does so quite apart from our own strategies.
—Constance Cherry, The Music Architect, 79
Music itself doesn’t change us, of course, but God often uses music to work in us on our journey of transformation. It is a way through which we are continued and strengthened in faith.
—Constance Cherry, The Music Architect: Blueprints for Engaging Worshipers in Song, 247
How perplexing to think of the burden we have placed on music, this fleeting human construct! . . . The church desperately needs an artistic reformation that accomplishes two things at once: first, it takes music out of the limelight and puts Christ and his Word back into prominence; and second, it strives creatively for a synthesis of new, old and crosscultural styles.
—Harold Best, Unceasing Worship: Biblical Perspectives on Worship and the Arts, 75
As much as I love music . . . we have placed far too much faith in it and not nearly enough in the power of the Word, the authority and sweep of fearless prophecy and earnest, yet hope-filled, intercessory prayer. I have often wondered what would happen if we got music out of the way, especially in its upfront dress, and spent abundant time in interceding prayer, reading and searching the Scriptures, sitting in silence, prophesying and perhaps only then singing and making music.
—Harold M. Best, Unceasing Worship: Biblical Perspectives on Worship and the Arts, 140
It is fruitless to search for a single musical style, or even any blend of musical styles, that can assist all Christians with true worship. The followers of Jesus are a far too diverse group of people—which is exactly as it should be. We need, rather, to welcome any worship music that helps churches produce disciples of Jesus Christ.
—Michael S. Hamilton, “The Triumph of the Praise Songs,” Christianity Today 43:8 (7/12/99), 11
Years ago near Christmas I was listening to ATC when a woman commentator shared the challenge of being Jewish in America at Christmas. I wish I could remember her name. What she said was cordial and insightful. As she wrapped it up she conceded wistfully that Christmas had quite simply inspired the greatest music in the history of the world. That admission contained a sigh and a signal.
Even Richard Dawkins (who succeeded Bertrand Russell and Madalyn Murray O’Hair as the world’s most famous atheist) has admitted to being a “cultural Christian.” The foundation for so startling a confession.? He found the singing of English Christmas carols to be irresistible. There is a truth and power in music whose source is not yet fully comprehended. Music is the registry of an unarticulated native reality. The power of music offered in praise suggests that though God’s truth can be denied, the beauty which radiates from that truth cannot go unadmired. Music which praises God’s majesty reflects God’s majesty. The music of Christmas, like the message of Christmas, resonates with something deeper than the mere recognition of excellence.
—Ronnie Collier Stevens, blogpost 12/13/2008
The use of music as an expression of emotion linked to theological truth is common in all churches. In the evangelical traditions where personal religious experience is emphasized, emotional expression is one of music’s most important meanings; it is probably that function which folks refer to when they identify “music that speaks to the heart.” But this is not a new experience for churchgoers. St. Augustine mentioned it in the fifth century.
“How greatly did I weep in Thy hymns and canticles, deeply moved by the voice of Thy sweet-speaking Church! The voices flowed into mine ears, and the truth was poured forth into my heart, whence the agitation of my piety overflowed, and my tears ran over, and blessed was I therein.”
The emotional power of music is perhaps best realized in the life of the church when proper music is well coupled to appropriate text. (Note that Augustine joins emotion with truth!) In this union, the music dramatizes, underlines, “breathes life” into the words, resulting in more meaning than the words themselves could express.
—Donald Hustad, Jubilate II: Church Music in Worship and Renewal
Depending on music to aid, induce, or enhance worship is idolatry dressed up on psycho-aesthetic finery. It confuses the power of music with the presence of God.
—Harold M. Best, “Authentic Worship & Faithful Music Making,” ACDA National Convention, Chicago, Illinois, February 27, 1999
Wisdom will be needed to encourage a congregation to be united over the music it uses. One result of the power of music is that people become deeply wedded to their personal preferences and find it difficult to recognize that the style of music is almost always a matter of no intrinsic theological importance. Training the congregation to recognize the difference between what is theological and what is cultural, and between where the Bible speaks clearly and where it does not, is an important part of training the congregation to be balanced in their biblical understanding. It has been wisely pointed out that many tussles over words and books are basically disputes about power in the life of a local church. Selfishness loves to dress itself in cultural clothes. Musical taste seems a lot more godly than self-interest, but all too often that is all a preference for one style of music over another amounts to!
—Mark Ashton, “Following in Cranmer’s Footsteps,” in Worship by the Book, 91
Some worshipers mistakenly assume that music serves the same inconsequential purpose in church as in the shopping mall. Since they regard it all as elevator music for the soul, they impose no standards on it. For them, neither music nor silence has much spiritual significance. They believe worship to be the service of the Word in the form of words. So long as the words of a lyric are acceptably pious, the choice of the music to which words are set is dismissed as nothing more than a matter of personal preference.
This grossly misapprehends the power of music.
—Daniel Frankforter, Stones for Bread, 122-123
The first and most solid conclusion which (for me) emerges is that both musical parties, the High Brows and the Low, assume far too easily the spiritual value of the music they want. Neither the greatest excellence of a trained performance from the choir, nor the heartiest and most enthusiastic bellowing from the pews, must be taken to signify that any specifically religious activity is going on. It may be so, or it may not.
—C. S. Lewis, “On Church Music,” in Christian Reflections, 96
What we want to know is whether untrained communal singing is in itself any more edifying than other popular pleasures. And of this I, for one, am still wholly unconvinced. I have often heard this noise; I have sometimes contributed to it. I do not yet seem to have found any evidence that the physical and emotional exhilaration which it produces is necessarily, or often, of any religious relevance. What I, like many other laymen, chiefly desire in church are fewer, better, and shorter hymns; especially fewer.
The case for abolishing all Church Music whatever thus seems to me far stronger than the case for abolishing the difficult work of the trained choir and retaining the lusty roar of the congregation. Whatever doubts I feel about the spiritual value of the first I feel at least equally about the spiritual value of the second.
—C. S. Lewis, “On Church Music,” in Christian Reflections, 96
There are two musical situations on which I think we can be confident that a blessing rests. One is where a priest or an organist, himself a man of trained and delicate taste, humbly and charitably sacrifices his own (aesthetically right) desires and gives the people humbler and coarser fare than he would wish, in a belief (even, as it may be, the erroneous belief) that he can thus bring them to God. The other is where the stupid and unmusical layman humbly and patiently, and above all silently, listens to music which he cannot, or cannot fully, appreciate, in the belief that it somehow glorifies God, and that if it does not edify him this must be his own defect. Neither such a High Brow nor such a Low Brow can be far out of the way. To both, Church Music will have been a means of grace; not the music they have liked, but the music they have disliked. They have both offered, sacrificed, their taste in the fullest sense. But where the pride of skill or the virus of emulation and looks with contempt on the unappreciative congregation, or where the unmusical, complacently entrenched in their own ignorance and conservatism, look with the restless and resentful hostility of an inferiority complex on all who would try to improve their taste—there, we may be sure, all that both offer is unblessed and the spirit that moves them is not the Holy Ghost.
These highly general reflections will not, I fear, be of much practical use to any priest or organist in devising a working compromise for a particular church. The most they can hope to do is to suggest that the problem is never a merely musical one. Where both the choir and the congregation are spiritually on the right road no insurmountable difficulties will occur. Discrepancies of taste and capacity will, indeed, provide matter for mutual charity and humility.
—C. S. Lewis, “On Church Music,” in Christian Reflections, 96-97
It was not without reason that the fathers and prophets wanted nothing else to be associated as closely with the Word of God as music. Therefore, we have so many hymns and Psalms where message and music [Sermo et vox] join to move the listener’s soul….After all, the gift of language combined with the gift of song was only given to man to let him know that he should praise God with both words and music, namely, by proclaiming [the Word of God] through music and by providing sweet melodies with words.
—Martin Luther, “Preface to Georg Rhau’s Symphoniae iucundae,” Luther’s Works 53-323-24
Christians can be very subjective and strongly opinionated about what constitutes ‘good music’. Pastors and song leaders need to be sensitive to the cultural context, aesthetic taste, musical expectations and spiritual maturity of each congregation in their care.
—David G. Peterson, Encountering God Together, 137
When he was 48, Johann Sebastian Bach acquired a copy of Luther’s three-volume translation of the Bible. He pored over it as if it were a long-lost treasure. He underlined passages, corrected errors in the text and commentary, inserted missing words, and made notes in the margins. Near 1 Chronicles 25 (a listing of Davidic musicians) he wrote, “This chapter is the true foundation of all God-pleasing music.” At 2 Chronicles 5:13 (which speaks of temple musicians praising God), he noted, “At a reverent performance of music, God is always at hand with His gracious presence.”
—”Johann Sebastian Bach, ‘The Fifth Evangelist,'” Christian History