
I have been thinking about the topic of music and worship for some time. In particular, I have been bothered by the fact that music in the Church is an area of division for many Christians. Musical style in congregations vary enormously, and those who advocate one style are often ignorant or even contemptuous of the musical offerings found in another church down the road. There are a number of sensitive issues of culture, musical taste and theology in these divisions. I am not aware of anyone discussing the damage caused by these gulfs in musical traditions. There is a need for serious writing on this topic as musical traditions play a major part in Christian worship and life . Music has to be considered a theological issue since it plays such an important part for so many in their Christian pilgrimage or journey to religious maturity. Something so important for Christian experience and growth should not be left to one side as ‘a matter of taste’ or something optional for those who like that kind of thing. What I want to do is to write a kind of introductory piece to this conundrum connected with the place of music in Church life. It will not answer all the problems. Rather it may help us to approach the subject with fresh eyes and see the discussion as important for the Church as a whole.
There is, I believe, a ready acceptance of the fact that some form of music is normally to be expected at most acts of Christian worship. The question then arises: what sort of music? Are we expecting to hear the music of Hillsong or Bach in our churches and cathedrals? What kind of hymns do we sing? Should we personally choose a church that offers the kind of music that we can appreciate, and should we avoid those churches that are jarring to us in the music they chose? The answers to these and many other questions on the musical offerings we find in our local church settings, depend in part on such things as local resources. Also, the music we hear and sing has to accommodate itself to that mysterious entity summed up in the catch-all words ‘culture’ and ‘tradition’. Each of us also knows that, while music in church can help to weld a congregation together, for other individuals the same music can be a serious stumbling block in finding peace or any kind of inspiration.
Up and down the country there are churches that invest considerable resources in the music they provide for their congregations. In some, the offering is what we can call cathedral-style music. This is found not only in actual cathedrals but in the increasing number of parish churches that aspire to near cathedral standards of musical offering. Each sung service is, from one point of view, an aesthetic event. This musical offering has some of the features of a performance, like that found in a concert hall. The presentation of such music requires dedication and commitment by all concerned. Where such musical traditions have been preserved in Anglican worship, there has been considerable investment of money and time over a long period. All too easily a musical tradition of this kind can be destroyed overnight by a Vicar or a PCC who decide that such an ‘elitist culture’ is unsuitable for their congregation. There may even be a conviction that the music of Byrd, Tallis and Bach is somehow spiritually harmful to those who attend.
In contrast, another church, particularly one in the cultural orbit of Holy Trinity Brompton or Spring Harvest, may invest considerable resources in a music band and provide music suitable to a more contemporary style and tradition. The vast range of ‘gospel music’ is not a type that I have experienced or studied. It is, however, hard to avoid the offerings of Graham Kendrick in ordinary parish churches. A few gospel songs make it into our hymn books, but I have never attempted to keep up with this huge repertoire beyond the few classics of this genre. I was reading somewhere recently that 1.5 million worshippers around the world are currently listening to or singing the music from Hillsong in Australia. I note in passing that singing music from this source has now become a more contentious act, since it is apparent that the royalties obtained by using this music flow back to Australia, enriching the entitled leaders of this church network. Hillsong is, nevertheless, still one of the musical gospel traditions that has, in some places, superseded the music provided by organ, hymn book and traditional church music.
The content of the blog could effectively end here, with a concluding remark that church music has to be a matter of individual and congregational musical preference. If you like the English Hymnal you need to search for a church that uses it, and the same can be said about Mission Praise. In fact, the discussion needs to go further than appealing to individual and group musical preferences. Music is an important part of human life and we need to be aware of how it can affect us at quite a deep level. It has the capacity to create emotions and moods and these, as we are all aware, can range from the wholesome to the potentially harmful.
The first observation I must make is reasonably uncontroversial. Music has a power to give pleasure and it does this by evoking pleasurable emotions. Recently, thanks to Netflix, my wife and I have developed a taste for foreign language films. This is not a prelude to learning Korean, Spanish or Turkish but we find the emotional tone of foreign films is quite different from those made in America or Britain. All these foreign films use subtitles. When music is played as part of the background, the subtitles indicate which human emotion is supposed to be evoked at that moment. So, after the word music, there appears a single word to indicate the mood that is being expressed. Words like romantic, suspenseful, mysterious or tense are used. The editor of the sub-titles wants to help a deaf viewer to know what mood is being evoked, at that part of the film, by the background music. The adjective used to describe the music mood also hints at what is coming next in the drama. Helping to create mood is also what is going on when music is used in church. Thus we have, for example, cheerful music and sombre poignant music when this is needed. This is as true for the Tudor composers of English church music as it is for the output of modern praise bands. The sombre music of Bach’s Matthew Passion is for me an important part of the observance of Holy Week and carols perform a comparable role in the Christmas season.
Human emotions play a vital part in religious experience and insight. Through them we can be led to a glimpse of a deeper sacred reality. At the same time, we are aware that the same emotions could simply be the stimulation of pleasure centres in our brain. When a worshipper is caught up with the words and music of a Tudor motet or the strong emotional resonance of a Hillsong piece, who can definitively say what is going on? Is the worshipper being let into a religious experience or not? There is, as one would expect, no easy answer to this question. One thing that can be said fairly safely is that feelings of a religious kind are not inevitably religious in substance. It is thus dangerous for a religious leader ever to claim that religious emotions are inevitably given by God. Religious feelings may indeed give us access to the divine. Alternatively, they can, as we suggested above, merely be the activation of pleasure centres in the brain.
What will help distinguish between the real thing, music leading us to an apprehension of God, and mere aesthetic appreciation? The answer has to lie in discovering whether the music and the religious feelings they evoke are changing us over a period of time in some tangible way. Is our spirituality and apprehension of the divine taking us beyond ephemeral sensation? It is a question that has to be asked in Anglican cathedrals and in large crowd events where the music is loud and catchy. Both kinds of music, that of ‘high culture’ and popular worship songs can help Christians in the path to genuine transforming religious insight and growth. Equally, both may be mere entertainment and stimulation of the brain.
In this piece I must confess a certain bias against the output of praise bands. My theological and musical instincts tell me that a constant musical diet of the offerings such as are heard at Spring Harvest, or some other charismatic festival, might be leading listeners to a form of faux religious experience. This is not an inevitable outcome, but I see two particular hazards making this possibility a prevalent possibility. In the first place much religious music of the gospel variety is taught initially at mass events. Large gatherings or religious festivals are notorious for emotionally ‘softening up’ the participants and making them susceptible to feelings that belong to the crowd rather than being their own. The second danger of this kind of music is that much modern gospel music is attached to ‘heroes’ of the genre, like Graham Kenrick and the music composers responsible for the massive Hillsong output. The institutional power of Brian Houston, the recently disgraced Hillsong leader, could be said to have been sustained by the musical offerings of this international franchise. Once a charismatic church is identified with the ministry of a figure who is only glimpsed in a highly choreographed role on a stage, it is all too easy to draw the attention of the congregation to the glamour of the man (normally men) at the front. Projection or hero-worship is not a healthy dynamic for any church.
My self-allocated number of words has now been breached but I hope very soon to return to this discussion in a future blog. For me it is also a real problem that the Church, even the CofE, is divided over the issue of music. We somehow resist discussing the topic for fear that issues of culture, class and snobbery may be raised. Such topics are hard to deal with easily, so we retreat into our musical ghettoes just as we hunker down in our theological bunkers. This blog is a small offering to contribute to a debate on which we all have feelings and insights. Perhaps I am hoping to start a conversation. I know it is a topic on which everyone in any church has an opinion.








