Brehm Center

Music is integral to worship for most religions, particularly for corporate gatherings of the Christian faith. It has been said that removing music from a worship service is to be left with only a speech and a prayer meeting. The conclusion may be arguable, but it is undeniable that music is a vital dimension to the worship experience. Much more than a universal language, music is an entirely unique form of communication a medium through which thoughts and feelings from the depths of the human heart find expression when words alone are inadequate.

Whether you play it, sing it, or simply listen to it, music has the power to lift spirits, console grief, arouse passions, or express joy. It is a primal way in which we communicate with God, capable of drawing us closer to or further from him. Not surprisingly, the criteria for engaging this powerful worship element are often marked with controversy.

This issue of Theology, News & Notes explores some of the current trends in music for worship in North America, the factors that influence those trends, and what they might imply for the future. It begins, however, with a recent charge given to Professor Michael Shasberger, the Adams Chair of Music and Worship at Westmont College in Santa Barbara, California, by Harold Best, dean emeritus of Wheaton College Conservatory of Music. In this stirring piece, Best challenges and encourages all those who have been called to lead worship or train leaders for worship, reminding us that the task is not to reinvent worship, but to reestablish it.

Recent advancements in technology give unparalleled access to information and modes of communication. North America's mix of ethnicities and cultures exposes us to more diversity of musical styles than any people in history. This increasing volume of multicultural and stylistically diverse music means unlimited opportunities as well as challenges for thoughtful introduction of diverse music into worship environments. Consideration must be given to whether a convergence of musical styles will enrich worship of God or be perceived as simple novelty or entertainment. Following Best's inspiring letter, ethnomusicology expert Roberta King explores the impact globalization and global Christian music is having on worship in North America.

As music leaders strive to be more inclusive and sensitive to various ethnic groups, they face a dilemma: Will the introduction of a piece of music from a foreign culture, tradition, or style engage the congregation or alienate it? Examining the cultural context from which a particular piece originates is useful, but understanding the cultural context into which it will be introduced is essential. Edwin Willmington outlines issues confronting church music leaders as they attempt to assimilate a myriad of musical possibilities into corporate worship.

An equally important question concerns whether music texts are theologically sound. Even skilled, dedicated, and sincere music leaders often lack sufficient training and understanding of theological tenets of the Christian faith to make informed evaluations. Conversely, with the diminished emphasis on the arts in our educational institutions, many pastors lack sufficient experience in the arts to allow them to realize ways in which the arts can play an important role in the spiritual life of a congregation. Under the guidance of the Holy Spirit, enlightened pastors and musicians must work together to creatively integrate arts and theology to fully engage the congregation.

A consummate example of an enlightened music leader is Johann Sebastian Bach. Not only an outstanding composer and musician, he was also a student of theology. In his article, Richard Plantinga argues that Bach was engaged theologically at a very sophisticated level, illustrating his thesis with examples of Bach's sacred compositions.

For centuries the organ has been the dominant instrument used in worship. Its dynamic power and range of tonal colors and expression have made it not only an outstanding solo instrument but also well suited to the accompaniment of congregational singing. However, the organ's dominance began to decline in the last quarter of the twentieth century. Wanting to reach out to a younger generation of seekers, many congregations adopted the contemporary praise and worship format in place of choral music and hymns accompanied by organ. Some churches blended in the new style without discarding the old, while others who considered the organ obsolete totally abandoned its use. Mark Thallander looks at the future of the organ in worship with the results of a limited survey suggesting that the king of instruments is experiencing a renaissance, including several congregations where organ use in worship has been resurrected.

Other technical innovations have impacted worship. Ron Rienstra examines ways in which technology has affected the liturgy and music styles used in worship, as well as how technology has affected the textual content and construction of sacred songs. Recent advancements in electronic technology have made high-quality audio and video recordings affordable for the nonprofessional, unleashing a new wave of artistic innovation impacting especially those progressive gatherings referred to as "the emerging church" or "emergent worship". Barry Taylor's thoughtful article gives insight into the ways in which this unique style of worship embraces an eclectic mix of elements from both ancient and popular cultures in a particularly contextual approach.

One aspect of popular culture originating in urban black communities is hip-hop. In his article, Ralph Watkins provides a brief introduction into the culture of hip-hop, the new challenge it presents to the church, and the resources that can shed light on this cultural phenomenon.

On the other hand, amidst the proliferation of new styles of choruses and songs of praise in worship, hymns are still alive in the world of church music. Clay Schmit, in Traces of a Hymn Explosion, offers two recent winning hymn text search entries with comments about the future of hymnology.

In its many glorious incarnations and variations, music continues to be a defining element of worship and the human experience. Before we are able to walk and talk, we sing. In time, as memory fades, it is often song that remains most vivid and accessible to our minds. Is it any wonder that the heart and soul of the Church is congregational song? This tells us that the task of a leader of music is more than an excellent performance of culturally and ethically diverse music utilizing the latest technological innovations in engaging worship services. The true task is to seek out the music, regardless of style or origin, that will authentically reverberate to one's own congregation the message that Christ died for us and that by his grace we will have everlasting life.

J. Frederick Davison, DMA, is the executive director of the Brehm Center for Worship, Theology, and the Arts at Fuller Theological Seminary. In addition to degrees in vocal performance, Davison has a Doctor of Musical Arts with an emphasis in conducting (UCLA). In 1999 he and his wife Dottie came to Fuller to develop a center for worship, theology, and the arts. He was appointed executive director of the Brehm Center in 2002. Since then he has initiated the development of institutes within the center that focus on film and moving images, music, art and architecture, dramatic arts, literature, preaching arts, and the study of the emerging church. Davison has continued his music activities at Fuller serving as the director of choral activities.

Theology, News & Notes (ISSN 1529-899X) is published for the alumni/ae and friends of Fuller Theological Seminary. It is published three times a year, in winter, spring, and fall.

The editorial content of Theology, News & Notes reflects the opinions of the various authors and should not be interpreted as necessarily representing the views of Fuller Theological Seminary.

©2006 by Fuller Theological Seminary. Produced in limited quantities for alumni/ae and friends.

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