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What Should Christian Music Be—Choruses, Hymnals and the Anointing By Cassandra Gaudet
Recently “How Far Is Too Far When It Comes to Church Music” was published on ninetyandnine and I, for the first time, felt the need to rebut much of what was written. (The author will not be directly addressed, as my reply is directed toward a mentality and not a person.)
To me, the article essentially argued that by churches choosing a modern approach to their music, they are forsaking the anointing and trading landmarks/monuments of the days of old for the sake of relevance and less internal conflict for the believer. We are somehow abandoning a piece of where we have come from by changing our tone.
Is Everyone Biased? Take a look at our natural biased perception of what should Christian music should be. Jerry Solomon of Probe Ministries says,
“It is possible that misunderstandings regarding ‘Christian music’ are the product of cultural bias. Our ‘western ears’ are accustomed to certain sounds. Particular modes, scales, and rhythms are part of a rich musical heritage. When we hear music that is not part of that heritage, we are tempted to label it, inaccurately, as unfit for a Christian's musical life. We should realize that music is best understood within its culture. For example, the classical music of India includes quarter tones, which are foreign to our ears. They generally sound very strange to us, and they are often played on instruments that have a strange sound, such as the sitar. But we would be guilty of flagrant prejudice if we were to maintain that such music is un- Christian because it does not contain the tones we are used to hearing. Another example of the way evangelicals tend to misapply the term Christian to music can be understood by reflecting on how music may have sounded during biblical and church history. Scholars have begun to demonstrate that the music of biblical history may have been comprised of tonal and rhythmic qualities that were very different from what we are accustomed to in western culture.” (Solomon, 1992)
Just maybe we do the same thing when we hear music that we are not accustomed to. Instead of probing the song for its sincere meaning, do we toss it because it does not neatly fit into our long-standing tradition of what is acceptable in a worship service?
Anointing Is Not Song Specific So let’s start drawing the circle smaller. We understand that we might be biased toward any given style of music because of traditional lenses that we see through, regardless of whether we want to admit it or not. But, as the author of the article suggests, there is this supposed anointing that is associated with one style as opposed to another. The problem is—the same argument could be used by the opposing side. Anointing is not associated with the words of a song, nor is it captured in the chords and melodies created through the organ or piano. It is imparted as a gift from God.
Paul in I Corinthians, speaking to the church of Corinth, tells them, “Now he which stablisheth us with you in Christ, and hath anointed us, is God.” John reiterates this same idea when he says, “But the anointing which ye have received of him abideth on you…” (I John 2:27). To say, “If you really want to feel the true anointing of God, sing some of the old songs. You will feel a deeper anointing than when you sing the new praise and worship songs” is treading a fine line between God-given anointing and human-designed “feelings.”
Consider who the giver is and what the anointing is. If one is not feeling the anointing, regardless of what type of song is being sung, it has little to do with a song and so much more to do with the heart of the congregation and, more importantly, the heart of the person.
Another Musical Misconception I believe the article also tried to argue the idea that we were somehow forgetting our heritage and landmarks by engaging in contemporary music/worship. God is constant through the ages, but He reveals Himself on different levels throughout time. That is the beauty of who He really is. In my moments of financial despair, He is a provider. In times when the church was persecuted, He was an ever-present help—and the list is endless. The point is, people interact with God on so many levels. To sing a song just because it reminds me of my heritage is defeating the whole purpose of music in the church. It is not about me; it is about Him.
Others have noticed that much of the traditional music we set up as standards possess a strong thematic element on the basic need to be safe and secure. This comes from the Great Depression, when felt neither safe nor secure—“Everybody Will Be Happy Over There,” “Won't It Be Wonderful There,” “When We All Get to Heaven,” and “Jesus, Jesus, Sweetest Name I Know”
This is not to say that some of the music out now does not foster the same mentality, but it reminds us that we need to be careful with what we deem as anointed and authentic worship music.
So What is Church Music? All of that said, what really is music in the church all about? Is it about remembering a time and place? Is it about fostering some kind of nostalgic feeling in hopes of creating the same anointing that once existed when we sang a particular song? Is it about compromising truth for the sake of being politically correct?
I hope that it is none of that, but rather a cry of the heart toward God in true, authentic worship. Make it about him and not about your personal preferences, regardless of what they are. A notable and wise music director said, “The truth is that worship exists because of who God is and not because of a stylistic choice that exists.”
Take that into consideration when you attempt to make judgment calls about any one kind of music, whether contemporary or traditional.
© 2007, Cassandra Gaudet
--------- Cassandra Gaudet graduates this December with my Masters in Education. She is part of the College & Career leadership at Epicenter Church in Long Beach, CA, a full-time personal trainer at a gym in Southern Cali, and bookkeeper for a company in TN. Sleep is so overrated.
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