Church Hunting: What People Want from Church

I know a couple of people who are in the process of looking for a new church. One is a family member who recently retired and has more time on her hands. The other is a friend who is moving to a different state. In both cases, I was reminded how much the search process feels like dating. It is exciting, uncomfortable, and most visits feel like a mismatch.

Continue reading “Church Hunting: What People Want from Church”

Monotone Worship

The worship wars are over. In church after church that I visit, we all seem to be singing the same handful of songs. To me they seem more like chants and shouted slogans than anything else. Melodically uninteresting and lyrically unimaginative, the music we are singing in the church these days isn’t composed, it is compiled. It feels more like the work of a committee than it does the creation of an artist. That’s because the songs we sing are often the result of a production process that might best be described as creation by committee. If you doubt this, count the number of names listed at the end when the song’s credit appears.

Instead of reflecting the personal faith experience and artistic skill of an individual, today’s church music has the feel of mass-produced goods of a marketing machine. There is plenty of enthusiasm. What is often missing is imagination and beauty. Today’s measure of what makes for good worship music rises no higher than the aesthetics of what used to be called top forty radio. As the teenagers observed on American Bandstand in the ’50s and ’60s, “It’s got a good beat, and it’s easy to dance to.” But the result of such an approach inevitably tends toward banality and cliché. This is true both for the music and the words that the music frames.

In an essay entitled “Thoughts about Music,” theologian Josef Pieper makes three observations about the music of the post-modern era, which also apply to much of the church’s music today. First, Pieper notes that the most common and pervasive feature of today’s music is its triviality. Pieper describes this sort of music as the kind whose primary function is entertainment and mood management. According to Pieper, its chief characteristics are “a happy sound” and a “numbing beat.” Second, Pieper observes that the music of the post-modern age is, “frequently selected and consumed as a means of personal enchantment, of escapism, of a certain pseudo-deliverance, and as a means to achieve delight that remains merely ‘skin-deep.’” Third, and most important, Pieper explains that post-modern music “lays bare man’s inner existential condition.” Or to put it in other words, the music of a culture exposes the soul of that culture.

We have been conditioned to believe that all cultural artifacts are morally neutral. We not only see music as amoral but as something whose value is so subjective that it cannot be criticized. In the practice of the church, this post-modern perspective has resulted in a kind of cultural tyranny which demands that worshipers embrace the latest musical style uncritically, no matter what its effect might be on their experience of worship. Some may dismiss Pieper’s observations because his mention of the beat is reminiscent of a kind of musical criticism that was once characteristic of certain branches of Fundamentalism and which condemned modern worship music for its “jungle beat” or employed a pseudo-scientific argument to warn of the psychological and spiritual effects of rhythm on the listener.

But this is not what Pieper is criticizing. His point is not about what music does to us but about what our music says about us. If the music we use to express ourselves in worship is trivial and sentimentalized, it is because our thoughts about God and the Christian life have become trivial and sentimentalized. The danger with this kind of worship is not merely that it exposes our shallowness to the world but that it reinforces that shallowness. George Orwell makes a point in his essay entitled “Politics and the English Language,” which seems pertinent here.  “A man may take to drink because he feels himself to be a failure, and then fail all the more completely because he drinks. It is rather the same thing that is happening to the English language. It becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts,” Orwell notes.  

The aim of worship is not merely to express our feelings. It is also intended to shape our thinking. According to Ephesians 5:19, when the church sings together, it is talking to itself as well as to God. Colossians 3:16 speaks of psalms, hymns, and spiritual songs as modes of instruction and admonition. We serve God when we worship, but the music we use to worship with also serves us. My complaint about the church’s culture of contemporary worship is that it often does neither.

Instead of serving God, the worship of many churches inadvertently pushes God to the margins by employing music as a marketing tool. Rather than serving the congregation, our worship is aimed at those we want to visit the church. Our songs usually speak of God but often in a sentimentalized and even a narcissistic way, so that the message is more about us than it is about God. There is a place in worship for speaking of our own experience. The Old Testament book of Psalms often speaks in the first person. The Psalms also show that worship should have an emotional dimension. Nor is it wrong to hope that outsiders and seekers might sense God’s presence when the church worships. The problem here is one of perspective. The church’s marketplace culture objectifies God by treating the reality of His presence liking a commodity and using it to increase its share of the religious market.

At the same time, the church sends a mixed message about the importance of worship. Even as it spends considerable resources to put on a display that will attract people, so much so that in some churches the worship pastor can be paid more than the preaching pastor, church leaders are dismissive of congregational worship. Pastors often chide those who “only come to church to worship.” Such language gives the impression that congregational worship is the least important thing a church does and that those who make congregational worship the center of their week are self-centered spiritual deadbeats.

Ironically, the Greek terms that are the basis for the term “liturgy” originally referred to a work undertaken for the sake of the community. Apparently, worship is for the sake of people as much as it is for God. In the Greek translation of the Old Testament, these same terms were associated with the kind of service rendered by the priests and Levites. In Acts 13:2, this language is used to speak of the worship of the church at Antioch. The apostle Paul uses a different term in Romans 12:1 when he expands the New Testament idea of worship to speak of the offering of the whole self to God as a living sacrifice.

It is not just the tyranny of contemporary style that has flattened our corporate worship to a monotone; it is our view of worship itself. Congregational worship is not the least important thing the church does. Worship is the church’s primary vocation. Indeed, if the first article of the Westminster shorter catechism is correct, worship is humanity’s primary vocation, since “man’s chief end is to glorify God, and enjoy Him forever.”

The worship wars are indeed over, at least where the battle over musical style is concerned. But I am afraid that in the end, none of us is the victor.

John’s latest book Practicing the Present: The Neglected Art of Living in the Now (Moody Publishers) is now available from Amazon.com. Order your copy today.