Showing posts with label CCM. Show all posts
Showing posts with label CCM. Show all posts

Saturday, July 30, 2022

Praise songs without pentinence

In the past, I’ve expressed my skepticism about Christian Contemporary Music. But as I keep running into (intelligent and capable) CCM advocates, it’s clear I need to identify more theoretical and empirical evidence supporting these concerns. 

This month, Terry Mattingly of GetReligion highlighted a study of CCM texts by Prof. Michael J. Rhodes, a Baptist Old Testament professor in New Zealand. (Strangely, the original story and Twitter tweets are from last September).

The story was about how Rhodes looked at the lyrics of the first 25 songs in the CCLI Top 100 worship songs. He contrasted the themes of the top 25 praise songs to those of the 150 psalms of the historic psalter. Here are a few highlights from Rhodes’ Sept. 30 column in Christianity Today:
  • “There is only one passing mention of the word justice in the Top 25. …
  • “There are zero references to the poor or poverty in the Top 25. …
  • “The widow, refugee, and oppressed are completely absent from the Top 25. …
  • “References to enemies are rare in the Top 25.”
And his final point:
Maybe most devastatingly, in the Top 25, not a single question is ever posed to God. When we sing the Top 25, we don’t ask God anything. By contrast, prick the Psalter and it bleeds with the cries of the oppressed, pleading for God to act.
So without assessing the pros and cons of Rhodes’ argument, his premise is indisputable: the themes of 2500-3000 years of Judeo-Christian worship are the gold standard, and today’s praise hymns don’t measure up to that standard.

Penitential Hymns

To be fair, the typical Christmas, Easter or Trinitytide hymns tend to be upbeat as well.

Still, when considering the psalms, I spotted what I thought an even more striking omission: no mention of the pentience, repentance and confession by King David and others throughout the psalms, repeated by worshippers across the centuries. The first and last verses of this hymn — sung by Episcopalians at Lent — seems an appropriate example of what such pentinence might look like:
With broken heart and contrite sigh
A trembling sinner, Lord, I cry:
Thy pardoning grace is rich and free
O God, be merciful to me.

And when, redeemed from sin and hell,
With all the ransomed throng I dwell,
My raptured song shall ever be,
God has been merciful to me.
Authored in 1852 by English Baptist preacher Cornelius Elven, for Episcopalians it has been sung regularly since it was first published in The Hymnal of 1874.

Friday, August 28, 2020

A CCM superstar and two archbishops go into a videoconference

Today’s email blast includes an invitation from the ACNA for discounted registration to Keith and Kirsten Getty’s annual conference on contemporary worship music. I was surprised to learn that the Gettys (denominational affiliation unknown) have become the official CCM (and perhaps hymn) suppliers to the ACNA.

I mean no respect to the Gettys’ obvious songwriting, performing and business abilities. The planned tribute to Anglican theologian and BCP/ESV editor James Innell Packer (1926-2020) is also well-deserved.

However, I’m not just used to a performer being endorsed by a denomination unless there’s a clear denominational affinity/membership involved. If the conference weren’t $150 (with the discount), I might just go to find out what’s a happenin’.




Join Fellow Anglicans at the Getty Music Worship Conference: Sing! Global 2020, Aug. 30- Sept 2


Each year, Keith and Kristyn Getty – friends of the Province and known for their modern hymns such as “In Christ Alone,” “The Power of the Cross,” and “Speak O Lord” - host the Sing! Worship Conference. This year’s conference will feature a particular focus on the beauty of structured prayer and the Anglican liturgy.  Due to the current pandemic, the conference has been moved to an online format and will take place August 30 – September 2. Registrants will have access to all content for 90 days after the conference.

The Most Rev. Robert Duncan, Archbishop Emeritus of the Anglican Church in North America, will lead a special seminar entitled “Scripture Arranged for Worship: Singing the Book of Common Prayer.” In tribute to his life and ministry, a never-before-seen legacy interview with Dr. J.I. Packer (recorded 2018) covering topics from the importance of personal holiness to modern liturgy will be shown. And, don’t miss the conversation with Keith Getty, Archbishop Foley Beach, and Archbishop Robert Duncan on the formative power of singing the Word.

Keith and Kristyn Getty are doing great work to help deepen worship and train church leaders around the world.  Their organization has worked closely with the Anglican Church in North America and Archbishop Beach in the past to bring quality training on liturgy, music, and artistry to the global family of God’s people.

Because of the special relationship between the Gettys and the Province, members of the Anglican Church in North America can receive a 30% discount on registration for the conference by following this link - http://bit.ly/singacna

To learn more about the Sing! Global online conference, including a list of speakers and schedule, please visit www.gettymusicworshipconference.com. Don't miss this opportunity to grow deeper in your faith and learn from pastors, musicians, and artists from around the world!

What can you expect at Sing! Global 2020? Sermons from trusted expositors on the wonder and power of the Word of God. Practical talks and interviews on how Scripture informs every aspect of corporate and family worship and fuels evangelism and missions. Over 60 breakout sessions on preaching, prayer, congregational singing, liturgy, hymn writing, family devotions, and the doctrine of the Word. Songs led by musicians committed to doctrinal depth and Christ-exalting hymnody. This event will also showcase the unity of the church as we are led in sung worship from six continents! Registration includes access to all content for 90 days so you can catch up and go deeper.

A Conversation with Keith Getty, Archbishop Robert Duncan & Archbishop Foley Beach

Friday, February 15, 2019

Jesus is my NOT my boyfriend

An ongoing challenge of Contemporary Worship Music is the “Jesus is my boyfriend” problem.

In so many contemporary praise music songs, the lyrics emphasize a love of Jesus (or by Jesus) in words so vacuous and atheologic (or a-Christological) that the references to Jesus could be replaced with the name of one’s boyfriend, girlfriend or spouse.

In honor of St. Valentine’s Day, on Friday Jonathan Aigner of Ponder Anew posted a blog entry entitled “Turning Modern ‘Worship’ Song Lyrics into Valentine’s Day Cards”. He takes a dozen CCM songs and adds clip art to bring out the Valentine’s Day romance motif.

One excerpt is from “Fierce” by Jesus Culture:
Like a tidal wave
Crashing over me
Rushing in to meet me here
Your love is fierce 
Meanwhile, “Your Love Never Fails” by Newsboys says
And when the oceans rage
I don't have to be afraid
Because I know that You love me 
Clearly these and other “Jesus is my boyfriend” songs don’t belong on Sunday morning. I’ve only briefly worshipped at CWM (or blended) churches, but it appears that the more theologically serious leaders of these churches are aware of this phenomenon and seek to avoid it.

The risk is that parishes may have musicians with more or less theological background, and clergy who are less attuned (or to busy) to head off these problems. This is exactly the problem that a denominationally approved hymnal solves. Of course, making a new hymnal every 40 years is directly contrary to the goal of performing on Sunday morning the latest song off the CCM bestseller list.

There is the separate issue that many CCM songs have an emotive, manipulative nature of the lyrics and music that emulates contemporary pop music. But that’s a topic for another time.

Monday, November 19, 2018

ACNA co-sponsors CCM-bluegrass Xmas concert tour

From the ACNA email blast this afternoon:

Getty Music Presents Sing!
Celebrate the Season at
Sing! An Irish Christmas

Enjoy an evening of inspirational carols and hymns with Keith and Kristyn Getty — and their band of top Irish & American instrumentalists fusing Celtic, bluegrass, Americana, classical and modern sounds into an evening of singing and celebration.

Dear Friend,

For the seventh year in a row, modern hymn-writers Keith and Kristyn Getty are returning with Sing! An Irish Christmas. As someone who appreciates great songs of the Christian faith, we hope you'll join us for the annual gathering of historic carols and congregational singing.

Sing! An Irish Christmas continues the great legacy of singing beloved holiday hymns.

Featuring classic Christmas carols as well as popular modern hymns and carols from the Gettys, the Sing! An Irish Christmas tour will make stops in renowned concert venues like Carnegie Hall and the Kennedy Center in DC - where it has had the distinction of being the only Christian concert to play during the Christmas season.

Special discounts for ACNA pastors & congregations are available by emailing info@gettymusic.com

Guest artists for select concerts include:
Archbishop Foley Beach, Joni Eareckson Tada, Tim Keller, David Platt, Paul Tripp, Nancy DeMoss Wolgemuth, Ricky Skaggs, Alison Krauss, Matt Redman, Sierra Hull, John Patitucci, Trip Lee, Phil Keaggy + many more! 

Check local concert listing at 
www.gettymusic.com/christmas for more details!


The ACNA website explains the “guest artist” remark:
From Archbishop Beach: “I am grateful for the partnership we have with the Gettys! I and many in the Anglican Church in North America continue to be enriched by their ministry. As we prepare for the coming Christmas season, this tour is an opportunity to hear and sing some of the great hymns of the Faith. I’ll be participating in the concert in Atlanta on November 28th. If you or your church are looking for a fellowship opportunity this Advent, this is an excellent one to consider!”

Keith and Kristyn Getty are doing 16 concerts from Nov. 28 to Dec. 21, including two Presbyterian, one Baptist, one Lutheran and two (California) non-denominational churches. Tickets appear to range from $15 to $130 (at Carnegie Hall). The promotion video suggests the music is a mix of secular and sacred Christmas carols, Getty praise hymns and other music, all performed in a Celtic-bluegrass-Irish/American folk style.

Since the Getty website doesn’t name the “special guests” or mention the ACNA, it is not clear the ACNA role other than the Abp.’s guest appearance on Nov. 28. However, the Getty website does talk about the partnership with several pages:
I’m vaguely curious as to what a Christmas-CCM-folk-bluegrass concert looks like, but I can’t make any of the dates. Instead, I’ll be celebrating Advent at a local Lessons & Carols service, and of course listening to webcast of the 100th Kings College Cambridge service

Sunday, July 17, 2016

Praise Songs with “Old Words”

There was a great post earlier this month on how praise bands update traditional hymns on Ponder Anew. The blog is by Jonathan Aigner, a Texas PCUSA choir director who regularly turns a skeptical eye towards the excesses of CCM.

Entitled “Modernized Hymns: Hymns, or Contemporary Songs with Old Words?” the post starts with a late 20th century example of such modernization at his Baptist youth summer camp by a praise song leader named Chris Tomlin (yes that Chris Tomlin). Even as a teenager it was clear that Aigner smelled something fishy about claiming that the new song — with bridges modulation and additional lyrics — was just a different way of signing the old hymn.

Are Modernized Hymns Actually Hymns?

Here is the crux of his argument:
But were we actually singing hymns?

I didn’t think so then, and I don’t think so now.

Of course, Chris Tomlin and other commercial worship songwriters have led a trend in the industry in which hymns are turned into commercial recordings, and then find a place in churches that practice contemporary worship. We see this even more in December, when everyone wants to hear their favorite carols and Christmas songs. So, all the biggest recording artists cook up their own versions of these songs, and church cover worship bands offer up their best imitations.

I hear from a number of contemporary worship apologists who proudly tell me they sing lots of hymns in their services, but that they are “refreshed” or “reimagined” in a modern style.

I think there’s a problem here. Though singing good theology is important, the way we sing it is also vitally important. Of course, that’s in contrast to the prevailing message of contemporary worship that says it’s all about taste, and that musical style doesn’t matter.

But it does matter. It’s about meaning, not preference. And music always carries meaning.
He continues with additional details of how to tell a hymn from a contemporary song with old words.”

When Was a Hymn Written?

This posting resonated with two other observations on a similar topic.

One was my own posting from last year asking “When was a hymn ‘written’?” Again, in other contexts people have claimed old words with modern music and performance styles qualify as an ancient hymn. It’s one thing to say that acoustic guitar or piano accompaniment does not change the character of an ancient or medieval chant. It’s another thing to claim that it’s a traditional hymn when you have the full-on rhythm guitar, electric bass and drummer accompanying your lead singer.

I think Jonathan and I have similar reservations about the efforts of praise band leaders to modernize traditional hymns while claiming the mantle of the long-accepted form of Christian praise and worship.

The Need for Reverence

The other thing that resonated with this theme was listening the same week to a May 24 podcast of Issues Etc. The topic was “Reverence in Worship,” an interview with Lutheran Pastor David Petersen. (The same topic had been covered seven months earlier in an interview with regular guest Rev. Will Weedon, director of worship for the LCMS.)

The interview drew on his article on the same topic published in (“The Journal of Lutheran Liturgy”). Alas, the journal hasn’t made it to the 21st century with articles (or at least a table of contents) from recent issues.

The arguments made by Rev. Petersen appealed to the authority of Lutheran and seminal Lutheran doctrine, notably the Book of Concord and the Augsburg Confession. In particular, he noted the admonition to worship “with greatest reverence.” But the actual conclusions were ones that should be shared by any liturgical Protestant.

One is that reverence is not (as some might claim) merely in the mind of the worshipper. Instead, it has an objective reality. As Rev. Petersen cited C.S. Lewis:
CS Lewis in The Abolition of Man tells a story about an English textbook, of a story of the artist Coleridge who overhears two tourists looking at a waterfall, and one says it's “sublime.” Coleridge says that is correct, while the textbook says that's not correct, that different people could have different opinions.

There is something objectively real in the waterfall that requires a response from us.
Rev. Petersen’s definition of reverence is
  • virtue — a habit of the heart, developed through practice
  • an attitude and feeling love towards God, tempered by respect, honor, fear, awe and shame
According to his conception, different attributes of this reverence wax and wane depending on where we are in the service.

However, to this conception, Petersen added a final element — joy — or a feeling of exuberance. This ties to the emotive element of music throughout the generations (including the sublime sacred music of composers such as Tallis, Bach and Mozart) without the excesses of CCM.

Sunday, April 7, 2013

Saving the next generation of Anglo-Catholics

Today we attended the closing service for the annual youth retreat of the San Diego Anglicans. Nearly 50 teens from the San Diego ACNA parishes were in attendance, as were their parents, other supportive parishioners and of course the retreat leaders.

Abdicating our Anglo-Catholic Leadership

Watching the contemporary, evangelical Anglican service made me realize how much we Anglo-Catholics have abdicated our responsibility to train the next generation of faithful Christians. If we don’t expose the young generation to the beauty of a thousand years of liturgy — or acquiesce to the myth that young people are only interested in contemporary worship — the traditional liturgy will be lost, at best to be rediscovered a century or two hence.

The arguments for contemporary worship seem to be associated with the evangelical wing of the Anglican tradition, whether among theological liberals or traditionalists. Their ongoing desire to be “relevant” supplants hymns (and organs and four-part chorales) with CCM.

What’s wrong with praise music? Why should we try to preserve traditional hymnody?

While I personally object to the guitars and pop melodies of contemporary worship, I realize this is a "classical" vs. "pop" music argument that is unlikely to be won any time soon. For my generation, training in music meant training in the classical Western tradition, renaissance to romantic with a little 20th century thrown in for good measure. However, since that time, the whole pop-infused culture (and the decline of musical education more generally) means that classical radio stations and record label are dying while every big city has a dozen or more pop stations.

Instead, today’s service highlighted two more fundamental problems of the contemporary, praise music-oriented liturgy that seems to be dominant in the ACNA and AMiA (as with the ECUSA that these parishes fled).

Ahistoricity

The first problem is the ahistoric hubris of praise music. While the hymnals of 1860, 1906, 1940 or 1982 include new hymns (sometimes from the hymnal editors), they also retained the best hymns from four or five centuries of Christian liturgical worship.

Today, the praise music leader makes the assumption that worship music began in 1960 (or 1970 or 2000) and nothing older than that is relevant for our pop-infused culture or Christians.

With one exception, I didn’t know any of the songs from this afternoon’s service. However, by noting key phrases from three praise songs, I was able to look them up later
There were no hymns, not even from the 60s — so if these were representative of the whole service, then the leaders assumed that teen-suitable music was composed before 2001.

This is hardly the only Anglican service to take this approach. (Intentionally) I haven’t been to a lot of praise music services, but this seems typical of the ones I’ve seen.

Who authorized these worship leaders to throw out Christian worship and start over again? Is this something that the church should do every century, generation or (in this case) every decade? What about linking believers to the message, historic role or linkage of the faithful through the ages? If you reset the canon of hymnody every decade, how will parents ever share the same musical heritage as their children?

In the end, this is the fault of the clergy who either exercise, delegate or abdicate their authority over the content of liturgy. Will we also throw away scripture, theological essays, creeds, or prayers when they’re more than a decade old? That’s the way of the TEC, not a denomination that claims to be theologically orthodox and anchored in Anglican tradition.

Shallow Roots

The second problem of today’s service was the utter vapidity of the lyrics. Rather than being anchored in scripture — direct quotations or paraphrases — the emphasis is on the emotive.

Let’s take Cannons by Phil Wickham:
It's falling from the clouds
A strange and lovely sound
I hear it in the thunder and rain
It's ringing in the skies
Like cannons in the night
The music of the universe plays

You are holy great and mighty
The moon and the stars declare who You are
I'm so unworthy, but still You love me
Forever my heart will sing of how great You are

Beautiful and free
Song of Galaxies
It's reaching far beyond the milky way
Lets join in with the sound
C'mon let's sing it loud
As the music of the universe plays
Contrast this to the great Anglican hymnodist Isaac Watts, e.g. Hymn #289 in Hymnal 1940, composed nearly 300 years ago:
O God, our help in ages past,
our hope for years to come,
our shelter from the stormy blast,
and our eternal home:

Under the shadow of thy throne,
thy saints have dwelt secure;
sufficient is thine arm alone,
and our defense is sure.

Before the hills in order stood,
or earth received her frame,
from everlasting thou art God,
to endless years the same.

A thousand ages in thy sight
are like an evening gone;
short as the watch that ends the night
before the rising sun.

Time, like an ever-rolling stream,
bears all its sons away;
they fly, forgotten, as a dream
dies at the opening day.
As usual, the praise song is about me, me and me, while Watts and is writing about God.

Relevance and evangelicalism does not have to mean shallow. Consider Charles Wesley, the prolific hymnodist and leader of the Methodist revival in (and eventual schism from) from the Church of England and Hymn #479 in my favorite hymnal:
Love divine, all loves excelling,
joy of heaven, to earth come down,
fix in us thy humble dwelling,
all thy faithful mercies crown.
Jesus, thou art all compassion,
pure, unbounded love thou art;
visit us with thy salvation,
enter every trembling heart.

Come, almighty to deliver,
let us all thy life receive;
suddenly return, and never,
nevermore thy temples leave.
Thee we would be always blessing,
serve thee as thy hosts above,
pray, and praise thee without ceasing,
glory in thy perfect love.

Finish then thy new creation;
pure and spotless let us be;
let us see thy great salvation
perfectly restored in thee:
changed from glory into glory,
till in heaven we take our place,
till we cast our crowns before thee,
lost in wonder, love, and praise.
The shallow, emotive nature of most CCM calls to mind the parable of the sower (Matthew 13, Mark 4, Luke 8). The gospel of Luke is particularly relevant:
5 “A sower went out to sow his seed. And as he sowed, some fell along the path and was trampled underfoot, and the birds of the air devoured it.
6 And some fell on the rock, and as it grew up, it withered away, because it had no moisture.
7 And some fell among thorns, and the thorns grew up with it and choked it.
8 And some fell into good soil and grew and yielded a hundredfold.”

9 And when his disciples asked him what this parable meant,
10 [Jesus] said, “To you it has been given to know the secrets of the kingdom of God, but for others they are in parables, so that ‘seeing they may not see, and hearing they may not understand.’

13. And the ones on the rock are those who, when they hear the word, receive it with joy. But these have no root; they believe for a while, and in time of testing fall away.
The evangelical preacher and parishioner can bring great enthusiasm to their faith, but (as in the gospel parable), what happens when the enthusiasm fades? As my daughter could have explained in elementary school, sugar provides a short-term energy rush, but the human body needs a more balanced diet (with protein) to build muscle and long-term endurance.

After the service, I approached a young (college graduate) member of our parish who, as it turns out, felt as I did about the CCM emphasis on emotion over belief. This evening, he e-mailed me this quote from Seraphim Rose, a San Diego-born Orthodox monk:
“A person must be in the religious search not for the sake of religious experiences, which can deceive, but for the sake of truth."
The risk of inculcating our children with a shallow faith is creating shallow Christians who will wither away in the face of our relentlessly secular culture. If we are trying to preserve the faith for all generations, we should inculcate a deeper and more durable faith — one more anchored in the proven faith and tradition across the millenia.

What Can We Do?

The role of the Anglo-Catholic parishes, clergy, laity and musicians should not merely be to serve the graying 28 Prayer Book/Rite I refugees, but to raise a new generation of Anglican believers in North America. We should not abdicate this responsibility to our evangelical brethren, but continue articulate and stand for our principles in preserving the historic faith.

The uneasy alliance that is the ACNA should be willing to embrace such an option: in theory, the denomination should be willing to support a diversified approach to continuing the faith that has existed for centuries. However, the ACNA’s recent liturgical efforts (as the emphasis on contemporary worship at most ACNA parishes) suggests that this is unlikely to happen. Anglo-Catholicism still has its proponents — at Nashotah, PB USA, FiF and the Schism I parishes — but they’re not running the ACNA.

We still have the attention of the praise band children who sing Watts and Wesley on Sunday morning, if not the rest of the year. Perhaps a few grandparents (or parents) can put their foot down to make sure the next generation hear the full canon of Christian of Christian music, rather than just a shallow slice of the past decade.

Sunday, January 25, 2009

Beyond praise in Praise Music

Like an anthropologist studying Southeast Asian aborigines (or the workings of a large corporation), I'm occasionally leaving my ’28 Prayer Book parish for a rock band ACN parish. Each time, I think about what’s similar and different to Anglo-Catholic worship, for two reasons. First is to better understand this tenuous compromise that is ACN (now Common Cause, soon to be a new province). The second is to help identify what portions of Anglo-Catholic worship are essential to preserve, and to be able to better articulate those arguments both to the Evangelicals and the High Church Progressives.

Today (as with a few months ago) I want to focus on the theology of the hymnody — i.e. the concept of Christianity contained within the lyrics. So a Sanctus accompanied by a rhythm guitar (or even a drum set) may not be my cup of tea — or timeless Christianity — but that’s for another time.

This morning, the rock band (3 singers, 2 guitars, ukulele, bass, drum, keyboard) played the service music and six songs. Five of the songs were in the bulletin; I don’t have the lyrics to the sixth, but the one line I remember (“Praising my savior all the day long”) suggests it was Frances Crosby’s 19th century hymn Blessed Assurance, albeit with an updated tune and/or arrangement.

Several things jumped out at me. All of these songs were essentially about praising God. Representative is “Shout to the Lord,“ composed in 1993:
My Jesus, my Savior, Lord, there is none like You;
All of my days I want to praise the wonders of Your mighty love.
My comfort, my shelter, tower of refuge and strength;
Let ev'ry breath, all that I am, never cease to worship You.
Some of the songs had an element of faith — usually promises to continue to worshiping, adoring or loving (but not obeying) God.

The other thing that the songs were was highly egocentric and emotionalistic: in 5 of the 6 (including Crosby’s hymn), the word “I” or “my” appears in the very first line of the song, and repeatedly after that. The song is about how I (interestingly, not “we”) feel about God — seemingly an outgrowth of the personal savior theology of evangelical Protestants combined with the narcissism of the Baby Boomers, “me” generation and Millennials. This may be a good sales strategy for the contemporary culture, but is it Christianity?

So the hymns are about me and my feelings (more precisely, the songwriter’s feelings). What is remarkable from reading and listening to these praise songs is how little we learn about God. Yes, he’s a great God, a comforting God, sometimes a powerful God, but what is he beyond that? If the point of liturgy or sacred music is to instruct (NB: Handel’s Messiah) or reinforce belief, what good do these songs do?

For that matter, except for the occasional reference to “your Son,” it’s hard to recognize the God of praise songs as being a Christian God, let along a Trinitarian one. Again, this fits today’s American civil religion — or even a generic New Age deity — but is it God the Father, Son and Holy Ghost?

It goes without saying that if the faith is (as Lutherans argue) is a combination of both law and gospel, praise music is all gospel love and no obedience or submission to the law. Of course, it’s possible to include repentance in the emotional expression of the first person: Exhibit A is Amazing Grace, which also testifies to the specific sola gratia promise of our benevolent God.

The juxtaposition this morning was striking, when the sermon of repentance was followed by the Rite II confession of sin — surrounded by sin-free, confession-free, obedience-free praise songs. When I asked the rector about the contradiction, he conceded that it was a known weakness of CCM — and then said I should talk to the “Worship Leader” (band director) because he chose the hymns. I used to resent rectors/pastors who interfered with the music director’s hymn selection — but at least hymns come from within a doctrinally approved hymnal. Now, it’s clear to me that any rector who doesn’t set parameters for hymn lyrics (either by picking a hymnal or approving specific songs) is abdicating his responsibility for the religious instruction of his flock.

The other thing that was notably absent was the Bible, the inspiration for so many timeless hymns. Alongside Hymnal 1982, in the pews this morning was another hymnbook: Renew!: Songs & Hymns for Blended Worship from Hope Publishing; inside, hymns 98-135 were listed as “Biblical Songs.” But today’s praise songs could not be traced back to any particular event or passage of Holy Scripture.

As an aspiring musician, it seems like there’s an opportunity here. Start with an eternal Christian message from the Hebrew or Patristic scripture — or maybe one of the many great medieval hymns. Give it a modernized paraphrase comparable to the TEV or Living Bible. Then set it to a four chord progression, add base line and drums, and then typeset it using a standard music scoring package. Voilà! We’d have hymns for all those Rite II ACN/Common Cause types who feel bad about dispensing sugary sentimentality no vitamins in their weekly praise music.

Wednesday, November 26, 2008

Is CCM really appropriate?

Catching up on reading blogs, here is an interesting commentary on a LCMS youth retreat in S. California
We on the left coast have just experienced (unfortunately) what these men from Water’s Edge have to offer by way of preaching as their “Missions Pastor” (Travis Hartjen) led the Pacific Southwest District Youth Gathering this past weekend in San Diego.
...
The “worship band” hailed from one of our not-so-confessional SoCal churches and played the top 20 CCM Dove award winning hits almost exclusively. Most of these songs emphasized, yep you guessed it: I, you, me, and we giving some lip service to God or Jesus. I have no problem with rock music as I am a musician that plays in a rock band here in San Diego. But I DO NOT play it on Sunday in my church. Everything has its proper place. Looking at the authors of the songs offered at our DYG I found them to be: Anabaptist, Pentecostal, and always Arminian. Thankfully, they did play one hymn, “Praise to the Lord, the Almighty” and I sung it with gusto!
As always, the most obvious difference with CCM is the rock band and the musical format, but the theologically important difference is in the lyrics.

Monday, October 27, 2008

Anglican praise music

The last two Sundays have taken us away from our normal 1928 BCP/Hymnal 1940 parish. While the choices were geographically convenient, they serve as a reminder as to why I am fighting to preserve our hymnal and liturgy for future generations.

Yesterday was an ACN low church parish, complete with rock band. (Some rock band churches draw the lines at a drummer — this modern liturgy does not).

The worship music consisted of
(† The copyright assertion is probably an error — or intended for the music — since the words are just a paraphrase of the 1611 KJV version)

As pop-rock (or pop-folk), the music is harmless stuff. A little bland, and without the timeless qualities of, say a hymn that’s survived for 700 years or a four-part Bach harmony. But nothing too terribly offensive, and at times I even wonder if I could be up there, strummin’ or singin’ away.

However, at the end of the service, something struck me: it’s all “praise” music. (Which is I guess why they call it “praise music.”) Words like “praise” and “love” are common, but expressions of contrition, penitence or obedience are not.

Let’s take a few examples. Here’s an excerpt from the MW Smith Agnus Dei:
Alleluia, Alleluia
For our Lord God Almighty reigns
Alleluia
Holy, Holy
Are You Lord God Almighty
Worthy is the Lamb
Worthy is the Lamb
Here is what John Merbecke wrote in 1549, for the first English-language service music:
O Lamb of God, that takest away the sins of the world, have mercy upon us.
O Lamb of God, that takest away the sins of the world, have mercy upon us.
O Lamb of God, that takest away the sins of the world, grant us thy peace.
Here are some words from the closing hymn at Our Lady of the Praise Music:
I can sing in the troubled times
Sing when I win
I can sing when I lose my step
And fall down again
I can sing 'cause You pick me up
Sing 'cause You're there
I can sing 'cause You hear me, Lord
When I call to You in prayer
I can sing with my last breath
Sing for I know
That I'll sing with the angels
And the saints around the throne
According one of the two liturgical indices in my favorite hymnal, the closing hymn for Trinity XXIII is #147, an 1897 composition by Rudyard Kipling.
If, drunk with sight of power, we loose
Wild tongues that have not Thee in awe,
Such boastings as the Gentiles use,
Or lesser breeds without the Law—
Lord God of Hosts, be with us yet,
Lest we forget—lest we forget!
What’s missing? Sin. Humility. Penitence. But, if you think about it, there’s no surprise here.

Lutherans (like LCMS founder CFW Walther) and also the Reformed talk about the Christian message as being Law and Gospel. In contrast, this praise music (like most praise music) is all about the Gospel — God’s love — without the obedience to his will and the confession of our failings implicit in any discussion of the Law. We are incomplete Christians without both: admitting God’s great power — and thus humbling ourselves before him — requires both Law and Gospel.

It’s been long known that a major failing of the hip, modernized nondenominational churches (notably including the megachurches) is that “the sin-free pep rallies don't encourage personal transformation and reflection, keystones of religion” (to use a quote from Fox news).

So my question is for my CCM-toting Anglican brethren: is it really safe to pick up our worship music (and thus our theology and instruction of the laity) from a branch of Christianity that repudiates (or carefully avoids) many of the tenets of our 39 Articles? Perhaps if Anglicans want to use CCM they need to write their own — or borrow some from the Catholics — making sure that it emphasizes not only praise but obedience.

Thursday, September 11, 2008

What makes 'Christian' music?

On Wednesday, George Strait won a Country Music Award nomination for best single for “I Saw God Today”. The songwriters were also nominated for song of the year. The poignant song about loss and faith spent two weeks at #1 on the country charts in May.

I happened to see Strait perform the song back in February, before the song was released on Strait’s album, Troubadour. (I didn’t tape it but someone else did).
I've been to church 
I've read the book 
I know he's here 
But I don't look 
Near as often as I should 
Yeah, I know I should 
His fingerprints are everywhere 
I just slowed down to stop and stare 
Opened my eyes and man I swear 
I saw God today.
Still this song — supposedly tied to the death of his daughter in 1986 — is far more explicitly religious than you’d hear in hip hop or (nowadays) even in pop.

So my question — how is this different than CCM? Is the music enough to make it not qualify than CCM? If you read the lyrics and didn’t have the music, would it seem consistent with some of the less salvation-oriented CCM songs.

Some argue that country music reflects the theology of rural white Southern Protestants. (See, for example, Redneck Liberation: Country Music As Theology).

Given this, other than the pedal steel, how is popular (country) music with vaguely Christian lyrics different from popular (pop) music with vaguely Christian lyrics?

Sunday, July 20, 2008

Schmaltz, praise and worship

Regular readers know that a major theme of this blog is questioning the suitability of praise music and other modernized forms of liturgy as a form of Christian worship. Even ignoring the creeping effects of modern theology on worship, the modernized liturgy (favored by evangelicals) poses its own problems. In the old Issues Etc. show, guests Terry Matingly, Barbara Resch and Jon Sollberger explained the inherent problems of chasing the culture to epxress even the most traditional theology.

Almost every Sunday I avoid this problem by spending my worship time in Anglo-Catholic worship. However, today I visited our former church. Its rector is very Biblical in his worldview, but a couple of years back he decided to convert the main service to praise bands in hopes of attracting more congregants. Like so many other parishes, the traditional liturgy is relegated to the early (in this case 8:30) service, which is why we don’t make it back very often. But if growth is the success measure, the strategy seems to be working.

More than a year before the praise band service began, the new music director was moving the hymn service away from Bach and other 16th, 17th and 18th century composers. Instead, there were a fair number of schmaltzy postwar hymns — the netherland between traditional hymnody and CCM/praise music that’s occupied by Hymnal 1982. It got to be a running joke — she would offer me now and again Bach to keep me in the choir, but any other week I would expect something schmaltzy.

What do I mean by “schmaltz”? The American Heritage dictionary definition:
schmaltz n.
1. Informal
a. Excessively sentimental art or music.
b. Maudlin sentimentality.
According to Random House, the term is Yiddish slang dating to 1930-1935, which in turn goes to the Old High German term for animal fat.

Today, with the choir on vacation, we had guest musicians on flute and piano. But even without the words, the three pieces certainly met the definition of schmaltz. One of them was “The Lord’s Prayer,” composed in the 1930s by Albert Hay Malotte.

Obviously, the words of this song (not used today) were not schmaltzy. But the music — written by a man who wrote film scores during the 1930s and 1940s — was designed to stir the listeners’ emotions. So much of what we lament about CCM was foreshadowed 75 years ago.

One of the other songs they performed was “I need thee every hour,” written in 1872 by Baptist parishioner Annie Hawks and her pastor, Robert Lowry. Hawks was later quoted as saying:
I did not understand at first why this hymn had touched the great throbbing heart of humanity. It was not until long after, when the shadow fell over my way, the shadow of a great loss, that I understood some thing of the comforting power in the words which I had been permitted to give out to others in my hour of sweet serenity and peace.
The refrain seems to presage the egocentrism (if not narcissism) of praise music a century later:
I need Thee, O I need Thee;
Every hour I need Thee;
O bless me now, my Savior,
I come to Thee.
In trying to link this schmaltz to the problems of Contemporary Christian Music, I found this interesting factoid. Ten years ago this month, the Gospel Music Association instituted formal criteria as to what would count as gospel music. Even this definition has serious problems when applied to popular CCM. I’m particularly suspicious of the clause allowing lyrics reflecting a “testimony of relationship with God through Christ,” which would appear to cover lots of feelings.

Still, briefly using Google to identify popular CCM lyrics, the first two examples of Michael English seemed OK: “In Christ alone” and “Mary Did You Know?” But, more generally, CCM in the view of many leaders has veered away from its nominal Christian roots.

Obviously not all CCM was meant to be used for worship, and pastors have their choice of what to use and what to reject. However, the lines between CCM and praise music are blurring.

For me, the first warning sign is the use of the first person pronoun. Contrast Lowry’s hymn with Amazing Grace:
Amazing grace, how sweet the sound
That saved a wretch like me!
I once was lost, but now am found,
Was blind, but now I see.
Even with the first person pronoun and the additional Harriet Beecher Stowe stanza, the emphasis is on God’s grace rather than our individual needs. This is even less of a problem for older hymns — such as Martin Luther’s classic of the Reformation.

Clearly praise music lyricists could make their text about God rather than human feelings. So why don’t they? Is the culture so corrupting that they don’t even try?