Finding Your Worship Voice - Christianity Today

They were a thirty-something couple with a long history in the church. I knew them well–I thought. Imagine my surprise when, one morning after worship, they cornered me.

“That taped music has to go!” they snarled. “Whose idea was it anyway?”

Before I could mumble a reply, they abruptly walked away.

I didn’t get to tell them the music was my idea (whew!). After all, our organist was sick, our substitute possessed questionable ability, and besides, we had wanted soft pre-service music to encourage contemplation. Why not play a gentle Windham Hill-type praise tape as people entered for worship? I thought it would set the mood for worship–background music is, after all, a way of life in our society. The actual worship service included only “live” music.

What’s the big deal with taped music anyway?

As any pastor knows, musical style is perhaps the biggest deal driving people’s emotional response to worship. Many churches are a maelstrom of musical tastes, personality types, and worship preferences.

In an era of cultural diversity, how can one church find and develop its own authentic voice? With so many options available and so many individual preferences, how do we decide what will be our accent?

Our church grappled with this issue. Here’s what we learned as we found our worship voice changing.

CHOOSE REALITY OVER FANTASY

Our church voice cracked a few times as growth brought changes. Sidestepping the hard choices, however, was not an option. The only way out was through. It was fantasy to deny or avoid the issue of diverse worship styles. So we faced the issues–and we faced the music.

Our traditionalists tend to believe that real music is at least 100 years old or composed by a musical Ph.D. They are good people, often the backbone of the church. Some represent decades of faithful membership and service. Their commitments are strong, and so are their opinions.

Others are more contemporary but just as emphatic. They can act as if music more than ten years old is out of touch. Influenced by popular culture, these good people are at home with jazz, rhythm and blues, or rock ‘n’ roll. Hearing the truth of God declared in their musical voice enthuses them like traditional music never will.

We had people at both ends of this extreme–and in between. So we couldn’t ignore the problem. We began by taking several steps to clarify the issues.

1. We asked ourselves the hard questions. Should our worship be for churchgoers or the unchurched? Should we use an organ or synthesizer, guitar, and/or (gasp) drums? Should we sing hymns, praise songs, or both? Do we focus on the theological or the relational? The intellectual or the emotional? Do we use hymnals, bulletin inserts, overheads, slides, faxes or modems? (Who knows what the future holds?) Where does drama fit in? Must age boundaries prevent some from enjoying others’ music? How can we deal with passionate people who threaten to leave if we change–or don’t change–the music?

2. We admitted that our culture is saturated with musical options. With television, radio, cassettes, and CD’s, today’s options are an endless musical smorgasbord. And the sheer volume of music can keep the most narrow musical appetite gorged for a lifetime.

Just as people channel-surf through stations to find their music or program of choice, we’ve found people “church surfing” to find if our style of worship music fits their own preference.

3. We became intentional about worship style rather than reactionary. We surveyed our church to find out, among other things, the music Hillcrest people listened to. “Classical” and “popular contemporary” tied for first place, “Christian” came next, followed by “country western” and “rock ‘n’ roll.” While we did get some write-ins for “rap,” “grunge,” and “alternative,” a fairly accurate musical profile of the congregation emerged.

We also asked what type of music people preferred in worship. The top vote-getter was “more contemporary music.” Then came “more congregational participation.” Next came “stay the same,” followed by “more hymns” and “more traditional music.”

These responses confirmed that we were (and still are) a diverse congregation. Some desire worship that is predictable and dignified. Others prefer worship that is spontaneous and emotional.

The reality was that we were a congregation with wide and varied tastes. Our differences wouldn’t go away by wishing.

Admitting these things was the first step to getting past the illusions.

CHOOSE VISION OVER VACUUM

Knowing we had a congregation with eclectic tastes didn’t solve our problem. We had to decide on a course of action. The action began one day at breakfast with one of the younger musicians in the church. He issued a challenge.

“Garth, I know you have a heart for worship,” he began, “‘and a music ministry that reaches all types of people–both inside and outside the church. But few know your passion. Some think you’re trying to invade their musical turf with new and threatening sounds. Others think you’re going too slow and capitulating to the status quo. You have to communicate a vision for worship and music that reflects your heart and passion.”

He was right. I knew we weren’t on the right musical track, but then I’d never articulated a direction others could follow. So I began to pray for wisdom. How could our music mesh with our church personality and who I was as their leader?

The temptation to imitate was strong. For all the conferences, tapes, and articles I’d encountered, however, I felt we could not merely import someone else’s successful style. Better to do what we could with what we had, right where we were. Above all, we had to be authentic.

I looked into Scripture and church history. I reflected on my own musical tastes. I analyzed the culture we were trying to reach. (Having teenage daughters was a great help here!) I considered various forms of worship we might incorporate. In short, I prayed for a vision so I could lead the church in worship.

According to Jack Hayford, “The leadership of the worship life of a church ought to be essentially pastoral–it is the pastor’s role to lead people in worship.”

When I felt God had showed me where we should be going, I communicated that vision with my staff. There was some disagreement, but their evaluation helped refine the vision. Next I consulted the elder responsible for worship and music. His suggestions helped clarify the presentation I made to the Council of Elders. Finally, we took it to the entire congregation. (See “A Vision for Worship.”)

Though a few voices dissented, most affirmed our direction. This vision proved valuable, giving us a compass as we sailed into new musical waters.

CHOOSE PRINCIPLE OVER PERSONALITIES

Music can be incendiary. Martin Luther wrote that music is effective in driving the Devil away. Maybe that’s why the Enemy seems to make church music the target of so much opposition.

Strongly held musical tastes run deep. Unfortunately, what is deep is not necessarily wide. One person’s musical appreciation often is exclusive (and sometimes hostile). Such hard-held opinions limit both the power of music and the power of God.

Pastors who attempt a broad range of musical tastes can find themselves in the cross hairs of some musical vigilante. Antagonists can be young or old, charter members or newcomers, classically trained or raised on rock. Musical passion is not confined to one group. But when that passion is expressed in ways that are, shall we say, less than edifying, we encounter trouble.

One week two couples, separately, came to see me. One held more traditional views, and the other more contemporary. Yet both informed me that they were probably going to leave the church. Neither couple felt they were hearing enough of their preferred worship voice. They wanted their own style of worship, even if it meant excluding someone else’s.

That’s when I found our vision for worship so helpful. When persuasive and persistent people object to the direction we’re going, I can feel intimidated. But with clearly defined, well-focused principles guiding our worship, I can point to the vision our leaders have endorsed. It gave me leverage and confidence when facing off with strong personalities.

By choosing principles over personalities, we found that the exit door for the disgruntled few became an entrance door for many more.

CHOOSE STRETCH OVER STATUS QUO

The God of all Creation, in whom we live and move and have our being, isn’t dull. Consistent? Always. Monotonous? Never!

Why is it, then, that we prefer to stay on one worship track, taking a sentimental journey and eventually forming a musical rut?

Let’s be honest. Stretching beyond our personal musical and worship bias can be risky. Stretching usually hurts at first. But regular stretching causes muscles, even musical ones, to limber up and eventually get stronger. A fan of contemporary music, for example, may have to stretch to embrace a Bach cantata. The person who prefers classical may have to stretch to worship with a praise band. But the exercise can bring spiritual conditioning

Some churches intentionally settle into one particular musical groove, one that fits their ministry niche. Others, however, settle into an unintentional rut, jealously protecting their comfort level. But when status quo is job one–whether contemporary or traditional–we usually find myopic vision and hindered mission.

We tried to make our diverse preferences a strength rather than a weakness. We wanted a tapestry of musical forms woven together. So our vision for worship seeks to blend our church’s marvelous musical heritage with more contemporary expressions.

I regularly remind our folks, “Today’s classical music was yesterday’s contemporary music.” Each generation finds expressions in the cultural forms of its day. Then it adds its own contributions to the worship repertoire.

Gerrit Gustafson writes in “Worship Today:” “The church of the future must become transcultural. The evangelical church must learn to sing spiritual songs; the charismatic church must rediscover hymns, the traditional church must begin to sing a new psalm. The young church must respect the older church and vice versa. Bridges of cooperation and counsel must be built between black and white churches. The stagnating pools of our cultural prejudices must be flooded by the river of His divine purposes. … If worship styles have been the source of divisions among us, let’s turn the tables and allow God’s design for worship to be a source of unity among us.”

But I found I needed help in implementing that kind of vision.

CHOOSE PACING OVER POWER

That help came from the church leaders. In our attempts at innovation and balance, more than one elder looked me in the eye and said, “Garth, I appreciate your vision and passion, but you’ve got to work on your timing. Wait for the rest of us to catch up with you.”

I had to learn the art of teamwork. (Again!)

Several months ago we were holding our annual stewardship dinner. We had planned our opening music to be upbeat. As the evening arrived, however, our church chairman expressed some concern. As people began entering, he came with an urgent look on his face.

“Garth,” he said, “I don’t think this will work. We’ve tried so hard to bring everyone along, but now, on the night when we’re asking people to make commitments for the new year, we’re jeopardizing everything with this music.”

I thought the music was great. The musicians had practiced long and hard. Should we pull the plug just to appease those who might be offended? Would we alienate our musicians? Or should we let the music roll and risk an uproar among many faithful supporters?

By now, hundreds of people were streaming into the banquet room, and the program was about to be begin.

At such moments there’s not much time for contemplation. Our chairman waited, watching me. It was time to call an audible.

My decision had nothing to do with music style. Rather, I decided on the basis of our team style of leadership. We needed to be on the same page. Even though I thought the music was fine, I sensed his anxiety and respected his intuition. Since I was committed to lead from unity rather than division, I submitted.

I told our music minister to drop the opening musical segment. Disbelief with a mixture of “Are you kidding?” and “How dare you!” filled his eyes. He didn’t argue, however, because he too was committed to being a team player. After he told the musicians that most of their numbers were being dropped, I figured I’d have to pick up the pieces later, so consequently didn’t enjoy much of the dinner. Every time I glanced over at the musicians’ table, I could see their frustration.

Midway through dessert I felt a tap on my shoulder. It was Steve, our music pastor. I couldn’t imagine what he wanted–except maybe to tell me he was turning in his keys on Monday. Instead, he asked if it might be possible to put the canceled music at the end of the program. That way, those who liked the music could stay, and those who didn’t could leave.

I thought his idea was brilliant. After the closing prayer, our musical team presented their “opening” musical segment. Some people left, but most stayed, enjoying the music and the fellowship in an informal, but fitting finale to a wonderful evening.

This incident illustrates the built-in tension always close at hand. Our commitment to lead in partnership helped me trust another church leader’s intuition, even though I thought it meant we’d lose ground. By our willingness to lose a little, however, we moved closer to winning it all.

CHOOSE INSTRUCTION OVER OBSTRUCTION

Paul’s advice to young Timothy (I wonder if those two liked the same music?) includes these words: “Don’t have anything to do with foolish and stupid arguments … instead … gently instruct” (2 Tim. 2:23-25).

There will always be those who oppose anyone initiating change. Rabbi Edwin Friedman warns in “Generation to Generation” that sabotage is the one thing any effective pastor can count on. This seems especially true in areas of music and worship. The emotions are volatile. Personal tastes obstruct vision and values.

Rather than fighting, how about instructing? A true God-given vision doesn’t fear controversy. It welcomes the opportunity to grow. In our case, we’ve been pushed to learn what true worship is all about.

Ongoing instruction has also pushed our leadership to review constantly our own motives: Is this vision God-given? Or just a personal pet project?

I’ve become more aware of my own musical motives. I’ve had to check whether the changes we were making really reflected a desire to please God and bless his people or merely a desire to be “on the cutting edge.”

This process has kept us in touch with Scripture, our people, and God.

LOOK UP NOT BEHIND

Few of us will ever develop a music ministry inspiring media attention. We move ahead doing what we can, where we are, with what we have to worship the living God in spirit and in truth.

We keep at it … where we are. Oswald Chambers said, “Never say, ‘I am of no use where I am.’ You are certainly of no use where you are not!”

But we have something to look forward to. It’s the place, to paraphrase C. S. Lewis, where the music is “further up and farther in.” All music on earth is a tin-eared echo of the music of heaven. The promise of what yet will be should keep us from pride that elevates one style over another, from excluding people with another point of view, and from giving up when musical dreams don’t quickly come true.

Heaven sets the tone, steadies the rhythm, and creates the harmony for worship here on earth.

Recently, though, I wondered if we weren’t getting close. Our worship included an organ prelude, a multi-generational orchestra, and a band (with keyboards, guitars, and drums). We had hymns, Scripture songs, and praise choruses.

Behind me a new believer sang newfound truths of the faith in a majestic hymn of praise. First-graders to my right quickly grasped the repetitive words of a praise chorus, though most of them couldn’t read. An older widow nearby sang softly, eyes closed and tears glistening her beautiful face. Teens sang to a familiar beat, but with words that went to their hearts.

Frankly, I can’t say that we’ve reached our goal. Nor can I say that everyone enjoyed all the music that Sunday morning, But I can say I was thrilled to hear the sound of different voices who, though not always together, were together. I set aside my pre-sermon anxiety and joined in the worship.

And I couldn’t help wonder how it all sounded to the heavenly Audience to whom we were singing. Some day that’s going to be all that matters.

Practicing for it now, I suspect, may be worth the effort after all.