On Organs

The Sixteenth Sunday after Trinity

O LORD, we beseech thee, let thy continual pity cleanse and defend thy Church; and, because it cannot continue in safety without thy succour, preserve it evermore by thy help and goodness; through Jesus Christ our Lord. Amen.

Last Sunday identified two primary problems that have a tendency to arise when using contemporary Christian music in a worship service, for which the use of the Book of Common Praise was presented as a potential solution. The two problems were first and foremost that the prayers offered through some of that music are shallow, while the second was that there may be a tendency to shift God as the object of worship through the tool or medium of music, to worship of either self or the music itself.

What is the Book of Common Praise and how does it potentially resolve these issues? The Book of Common Praise is the officially authorized hymn book of the Anglican Church of Canada, though it is not a mandatory book nor does it hold the canonical status of the Book of Common Prayer. There have been four authorized versions in the 20th century, the 1908 Book of Common Praise, the 1938 Book of Common Praise, the 1971 ecumenical Book of Common Praise developed in conjunction with the United Church of Canada and finally Common Praise which was authorized in 1998. The 1938 Book of Common Praise, which was reprinted most recently in 1963, is by far the preferred hymnal for traditional Anglicans in Canada, given the significant theological changes and problematic doctrinal innovations introduced in Common Praise.

St Justin Martyr in his Apology in Defence of Christians wrote that, “no one can give a name to God, who is too great for words; if anyone dares to say it is possible to do so, he must be suffering from an incurable madness.” Had he lived to see the publication of Common Praise, he might have made a similar comment on the revisionist slant of the committee that created it, which decided to re-write some hymns in order to, for example, affirm God as Mother in the revised text of Hymn to Joy. This type of revisionist agenda reminds us that the importance of hymnody is not simply in ancient tunes, traditional instruments such as a pipe organ or choirs, but rather in the orthodoxy of the words being sung. St Augustine of Hippo spoke to the nature of hymns saying this:

It is a song with praise of God. If thou praisest God and singest not, thou utterest no hymn: if thou singest and praisest not God, thou utterest no hymn: if thou praisest aught else, which pertaineth not to the praise of God, although thou singest and praisest, thou utterest no hymn. An hymn then containeth these three things, song, and praise, and that of God. Praise then of God in song is called an hymn.

Hymns are prayers, sung in praise of God. The traditional hymnody of the Anglican Church of Canada reflects St Augustine’s three-fold requirements. More than that, the hymns were written long-enough ago that they all reflect a traditional theology and avoid a shallower approach.

Like good prayer, a good Christian song ought to thank God for something He has done or something He is. In doing so, it ought to speak to what He has done, or who He is. Poor Christian music fails to expound on God’s nature, and instead simply uses ‘Christianese’ and Biblical sounding words to create a catchy lyric, something which often times will shift the focus away from God and back towards either the music itself or the person who is singing it. In other words, for good Christian music the message is God, while for bad Christian music the message is the medium.

While not at all seasonal, Easter provides an interesting comparison of a traditional hymn versus popular contemporary Christian praise music. Perhaps one of the most commonly sung hymns on Easter Sunday is, appropriately enough, Easter Hymn, known more commonly by its first line, "Jesus Christ is risen today, Alleluia!" The second is called This is Amazing Grace by Bethel Music, and was the most popular Easter praise song in the United States in 2014.

Jesus Christ is risen today, Alleluia! our triumphant holy day, Alleluia! who did once upon the cross, Alleluia! suffer to redeem our loss. Alleluia! Hymns of praise then let us sing, Alleluia! unto Christ, our heavenly King, Alleluia! who endured the cross and grave, Alleluia! sinners to redeem and save. Alleluia! But the pains which he endured, Alleluia! our salvation have procured, Alleluia! now above the sky he's King, Alleluia! where the angels ever sing. Alleluia!

Who breaks the power of sin and darkness Whose love is mighty and so much stronger The King of Glory, the King above all kings Who shakes the whole earth with holy thunder And leaves us breathless in awe and wonder The King of Glory, the King above all kings Chorus: This is amazing grace This is unfailing love That You would take my place That You would bear my cross You lay down Your life That I would be set free Oh, Jesus, I sing for All that You've done for me Who brings our chaos back into order Who makes the orphan a son and daughter The King of Glory, the King of Glory Who rules the nations with truth and justice Shines like the sun in all of its brilliance The King of Glory, the King above all kings [Chorus] [Bridge:] Worthy is the Lamb who was slain Worthy is the King who conquered the grave Worthy is the Lamb who was slain Worthy is the King who conquered the grave Worthy is the Lamb who was slain Worthy is the King who conquered the grave Worthy is the Lamb who was slain Worthy, worthy, worthy Oh

While both songs do speak to truths about God, Easter Hymn more clearly speaks to God in each and every line and more clearly each and every line’s purpose is to praise God for who He is and what He has done. In This is Amazing Grace, by contrast, the first six lines speaks only to one implied truth that God has broken the power of sin. If St Augustine were to evaluate the song, it seems doubtful he would find it fits his criteria of a hymn.

As JB Philips warns in his book Your God is Too Small:

It is natural and right, of course, that the worship we offer to God in public should be of the highest possible quality. But that must not lead us to conceive of a musically "Third-Programme" god who prefers the exquisite rendering of a cynical professional choir to the ragged bawling of sincere but untutored hearts.

Regardless of the medium, it is possible to warp the purpose and to substitute our own preferences towards the music. The intention of using music as a tool of worship must always be to praise God, and our concern must be for the words being said and their intended audience, not the degree of musical excellence.

The use of a hymnal encourages that focus, providing other benefits beyond simply assurance of orthodox theology in the words being sung. With limited musical accompaniment, it is the voice of the people which is the primary tool of worship, while the organ merely maintains the meter of singing. A hymnal containing the tune to a song can also allow a parishioner unfamiliar with a given tune the opportunity to sing.

This is not to say that there is no merit to listening to more contemporary Christian music, regardless of what St Augustine would have made of it as a tool for worship. The question is the degree to which it is appropriate as a tool of worship for the mass. A Christian song which may not be appropriate for the mass due to its lack of theological depth or even its ability to truly praise God may still be appropriate to listen to outside of the mass as a wholesome form of musical entertainment. A song which lacks any form of thanks to God for who He is and what He has done can still at the least encourage us to think about God.

Worship is not about musical preferences or traditional versus contemporary. We must always recall the importance not of the music or the form or instruments, but rather of the intent: does this music honour God?

On Contemporary Christian Music

The Fifteenth Sunday after Trinity

KEEP, we beseech thee, O Lord, thy Church with thy perpetual mercy; and, because the frailty of man without thee cannot but fall, keep us ever by thy help from all things hurtful, and lead us to all things profitable to our salvation; through Jesus Christ our Lord. Amen.

As has been discussed, worship comes in many forms. It is, simply put, the way in which we ascribe worth to God. Art can be an important tool of worship, but it also brings with it possible difficulties. Throughout the ages, there has always been an important question asked of art as it intersects with the worship of God: where is the point at which art, intended to be used as a tool for worshipping God, becomes a hindrance to worship of God by usurping God as the focus of worship?

This was a question at the heart of the Byzantine iconoclasm controversy of the 8th century, and which has remained throughout the life of the church in relation to all mediums of art. In this period, there was a split in the church over whether or not icons could legitimately depict Christ, or whether or not they could only represent his humanity at the expense of his divinity. Ultimately this concern reflected the question of the legitimacy of the art as a tool of worship. In much the same way, particularly in the United States, music has become the medium under scrutiny.

Millions of Christians around the world find the contemporary Christian rock worship music significantly enhances their ability to praise God. To others, however, modern worship music, as it’s often called, has usurped the place of God as the object of worship. As Lance Ralston puts it, modern worship emphasizes the creation, “of emotional rapture and the worship of worship, rather than the worship of God.” With the desire to instill this feeling of rapture as the goal, musical worship can become the focus of a Sunday service in some protestant churches, and elaborate productions are put on, attracting hundreds and thousands who are seeking a ‘worship high’ from the experience.

This pursuit of a ‘worship high’ is part of a dangerous trend which sees the feelings evoked by Christianity as the goal of Christianity, replacing salvation. That in and of itself is dangerous, as it again reflects changing the meaning of Christian worship from ascribing worth to God to ascribing worth to self (you give worth to yourself by emphasizing your own personal experience over giving glory to God).

It is perhaps easy to see this experiential goal in the high production value performances of US mega churches, or various actual concerts, but there is an even more insidious form of this same issue of the worship of worship and the experience of worship.

In any Sunday service, be it Anglican, Roman Catholic or a protestant denomination, whenever a musician begins to play there is always a question of how the congregation reacts. For a musician, the music they are playing as much as the words they are potentially singing can be offered to God. There can be a problem when the music is being offered for the benefit of the congregation, for its inherent beauty, and for their enjoyment, rather than in praise of God. From the opposite side of the spectrum, regardless of the intentions of the musicians, the congregation can create and seek out their own euphoric experience from the music, rather than focusing on singing in praise of God.

Worship is generally active; a conscience decision to do something. When a person is passively receptive to what is happening, it is difficult to explain how that might constitute worship of God. When you seek something, rather than seek to do something, the focus has shifted.

In response to just this concern being raised in his home church, the Christian singer/songwriter Matthew Redman wrote and released the song “The Heart of Worship” in 1998, which contains the lines:

I’m coming back to the Heart of Worship,
and it’s all about You, Jesus.
I'm sorry, Lord, for the thing I've made it
when it's all about You, it's all about You, Jesus.

The lyrics are a stark reminder that the importance is in the meaning behind the words and the intention behind singing them, not whatever else, or whatever experience we receive either by hearing the music or even by expressing ourselves in song.

In many ways it echoes the warning prophesied by Isaiah when he wrote:

And the Lord said:
“Because this people draw near with their mouth
    and honor me with their lips,
    while their hearts are far from me,
and their fear of me is a commandment taught by men,

This should make complete sense. Songs are merely prayers arranged to music, much like the Psalms. As prayers, they reflect and, in some ways, shape our faith. If we constantly worship, even with the intention of glorifying God, through music with shallow prayers.

The question then becomes how to corporately ensure that the focus remains on the words and prayers, and that the art remains a tool for the worship of God, and not simply to create an experience for man. One method, discussed next week, is through the use of the Book of Common Worship.