Notes

Confessions of a Christmas Music Snob

noreply@blogger.com (aahrens) — Fri, 14 Nov 2008 16:11:00 +0000

I really love this time of year. As the air gets colder I can finally haul out the sweaters, the occasional swing through the Starbucks drive-through is even more enjoyable, and there’s just that electricity in the air that excites and energizes me. And yes, I’m one of those weirdos who enjoy raking leaves. As I write today, there is a slow, steady rain – I love a good dreary day now and then.

Perhaps my favorite thing about this time of year is Christmas music. I’ll admit that this year I was listening WELL before Halloween – I just couldn’t wait any longer. Any why should I? Why should I put off listening to music that celebrates the birth of Christ? (Okay, I know that He wasn’t actually born on 12-25, but it’s just the time we choose to observe the most important event in history.)

But it’s inevitable. I turn on the 24-hour Christmas music station and some genius is singing about giving his or her heart to someone only for it to be given away – you know the song. Or someone else confesses that they want nothing else for Christmas, just YOU! You know that one, too. I’ll confess that drives me nuts. When someone hijacks a musical genre that is intended to celebrate Christ’s birth and shoehorns in their lamentations over their long-lost love, well, it just puts me over the edge.

Now granted, I know there’s “Holly Jolly Christmas” by Burl Ives or “Silver Bells” done up in Harry Connick Jr’s inimitable style, to name a few. But to me the message is still in keeping with the spirit of the season – family, giving, compassion. I know that people really do feel those emotions of unrequited love, etc., but it really bugs me when we treat Christmas music like a recipe: take one really depressing pop song, add the word “Christmas,” sprinkle in a few other holiday connotations and you now have Christmas song. If I wanted to hear that I’d tune into the local soft-rock station.

So what do you all think? How far do we go? Do we keep the message pure and focused on the message of Christmas?
Meanwhile, I need a cup of tea while Tony Bennett soothes my soul with “White Christmas.”

And the Nominees Are . . .

noreply@blogger.com (kdc) — Wed, 12 Nov 2008 17:32:00 +0000

I have songs I would like to nominate for the hymnal. If we actually still used a hymnal that is. Rather I have songs that are modern but deserve hymnal status. I am judging them on the following merits*:

*I do not have the authority to classify songs. I haven't taken a class and I don't have my doctorate in Hymnology. I'm just a gal with an active opinion and the ability to type 70 WPMs on ninetyandnine.

Merit #1: POETRY
The songs have expansive language and majestic prose. This is not recyclable music that sounds like volume seven in the Praise series, with multiple uses of Praise, Hallelujah or Worship.

Merit #2: INCLUSION
Folks born before 1976 can enjoy these songs. The songs are singable to everyone.

Merit #3: CUZ I SAID SO
It's my week to post so if you disagree leave a comment and address it to Courtney!

Drumroll Please

Chris Tomlin’s “How Great Is Our God” -- a perfect example of fusing achaic language with modern worship style. Our church sings How Great Thou Art at the end and they blend beautifully. Congratulations Chris, we will plant a tree in your honor. Or, we'll at least keep singing your songs.

Mercy Me’s “I Can Only Imagine” -- Not my favorite, but according to my husband it meets the criteria. It has been far reaching for music lover's of all genre's. It is country enough. It is gospel enough. And it makes for great sign dramas. BONUS: It talks about heaven.

“Awesome God” -- Rich Mullins put it on the map. Michael W. Smith brought it back and it's been given the remix several times over. I'll admit, lyrics like "when he rolls up his sleeves he ain't just puttin' on the ritz" may not jive with Merit #1, but the chorus makes up for it.

If you can think of more to be added to the list, leave a comment!

Psalm 61

noreply@blogger.com (everettg) — Tue, 04 Nov 2008 12:00:00 +0000

I did something a bit unusual for me the other day. I was scheduled to sing a special, and, as seems to be the usual case, I had not procured any new soundtracks, listened to any new tunes that inspired me, nor had I sat down to put some chords together to plunk out on the piano along with a melody to one of the three or four songs I have been wanting to learn. So instead, I "winged it." I really hate doing that. It always feels so . . . uninspired. It's almost never with at least a nudge from the Spirit, and this time, well, this time I had received several nudges.

I have been trying to learn some Hebrew, on and off (more off than on) and was looking at Psalm 61. Shema elohim rinnati, haqsheba t'pillati. Hear, O Lord, my cry. Attend unto my prayer. I'd been meditating on this line for a few days and the Lord had given me two melody fragments for the first line. The superscription to the psalm alludes to it being accompanied on a string instrument or instruments. So I asked our bassist to accompany me solo, giving him the basic notes and key for my improvisation. I sang in D minor, giving it that slightly Hebraic feel that we all strive for when we play/sing in D minor. I know you all know what I mean!

I sang the first line in Hebrew, and then sang the whole Psalm through once in English, using bits and pieces of the two melodic fragments. Once or twice I added the first part of the first line in Hebrew as a sort of refrain. And where it said Selah, I nodded to the bassist for him to play a short meditation. All in all it was well received. I was more nervous than usual, given I don't sing improv much, and nearly the whole thing was improvised.

Anyway. Just something to think about. As always, I'd be interested in your thoughts.

Perhaps God’s Greatest Invention

noreply@blogger.com (SSD) — Fri, 31 Oct 2008 02:02:00 +0000

“Who invented music? I’d like to shake his hand.” I listened to these lyrics on my iPod and thought they raised an interesting question. Though we have Biblical accounts of the creation of the world and all living inhabitants in it, we don’t know exactly how our current collection of notes and harmonies germinated and grew into the massive influence it is today. Genesis tells us that Jubal, the descendant of Cain, was the father of all who play the harp and flute, but what about bass, drums, and tambourine?

I think the devil gets far too much credit for what goes on in the musical world. I do believe it’s a specialty of his, but he is not the author and creator of the miracle that is music. As with everything else, it comes from God - The ultimate inventor.

That being the case, I began to wonder if it’s possible for any style of music to be inherently evil. There are certainly those that think so. The staid, pew-sitting folks had a field day condemning the likes of Elvis Presley when he vibrated on the scene. But fifty years later, modern Christians smile nostalgically when we hear “You ain’t nothin’ but a hound dog,” and maybe chuckle at how innocent it sounds compared to modern Rock and Roll. Does the music only seem wicked when it’s in its heyday and causing all the hysteria? And will things like hip-hop and rap sound just as neutered to us fifty years from now? I know there are certain aspects of modern lyrics that will never be quaint, with their bad language and sexual innuendo. But in their most basic forms of chords and progressions, are any evil spirits truly lurking?

It boggles the mind how music has grown throughout the years; from the elegant Classical period and the sweeping Romantic era, to Tin Pan Alley and on in to the snazzy, unmelodic chords we use to beef up our church choruses. Just when it seems we’ve played it all, someone invents a new way of stringing the scale together. And then someone else condemns that style as too worldly to play in church.

Music is one of God’s most awesome inventions in that it keeps evolving. Beethoven had no comprehension of the musical revolution that awaited just a century later with the advent of jazz and crooners like Bing Crosby. No doubt his music seemed the hottest and most progressive thing to him as he drove around in his horse-drawn carriage. He had no idea. And, in the same way, I can’t comprehend what progressions and styles and general controversy awaits the church songbook in the future. Whenever they appear, I imagine some people will condemn them as evil and ungodly, but I hope I keep an open mind and let the Holy Spirit show me what to say and play.

Watch out! The Labradoodle is in town!

noreply@blogger.com (Laura Payne) — Mon, 20 Oct 2008 19:37:00 +0000

I was browsing our parent-site (ninetyandnine) when something caught my eye. Thanks to Micah Wisdom’s sidebar, I learned that the topic of “Hymns versus Choruses” was a discussion at the recent Forum 2008. In this blog posting, I wish to respectfully suggest that the perceived Alpha Dog threatening the supremacy of the Hymn has already been trumped by a new kid in town. It is very possible that what we define as a current debate has already weakened to a tired and old discussion.

Most early choruses can be traced to the 70’s. (Consider the Maranatha Praise movement, etc..) So, the real battle between our own blueblood hymn and the annoying-to-some Jack Russell terrier called “the chorus” took place over two decades ago. There ARE churches in our own movement who made this momentous shift decades ago.

Jack Russells have been around for a while?

Consider Sis. Bobbie Shoemake, an esteemed recipient of the PMA Lifetime Achievement award. Their church in San Jose made the shift towards singing choruses in the 1980’s, amid some name-calling and criticism. But Sis. Shoemake loved the worshipful nature of the chorus and it suited her own ministry style. I still love to hear Sis. Shoemake lead worship, as she weaves from chorus to chorus while sitting at the piano.

My own musical background, on the mission field, was largely built around choruses. While we kept copies nearby of Sing Unto the Lord, it was vital in an international church with many who did not speak English as their first language that our worship be simple and singable. The early psalm-songs of the 70’s were our staple.

Granted, there are many churches in our movement who have not transitioned away from hymns so gracefully. I confess that I was amazed to discover that my own church just packed away the hymnbooks 5 years ago! It has given me great insight into our congregation to discover that my own dear friend “the chorus” is still the new-puppy-in-town here.

Who is the new dog in town?

However, the morphing of the old Contemporary Christian Music (CCM) genre into the new modern worship movement (whose transition is exemplified by people such as Michael W. Smith and Newsboys) has presented us the new Alpha Dog. It’s the “worship song.” Its characterized by a recognizable hook (ala the chorus) but often rooted in profound lyrics and and multiple verses (ala the hymn.) It is a musical labradoodle. And it has become the darling of the proverbial Westminster Kennel Club.

Songs we hear in many Apostolic churches across the country would qualify as this new breed of song. Israel is writing them! Martha Munizzi is singing them! Matt Redman is a master of this form! Joe Pace has successfully bridged the gap between gospel and worship with the worship song! Choirs sing them because they are easy. Small praise teams sing them because they are musically interesting and not too repetitive. They are not choruses. They are not hymns. They are the new worship sound of hundreds of churches across this country.

Concluding this ridiculous dog-talk

My point is not to assign “top dog” status to any particular musical format. Nor is this a conversation about the need to revive hymns, suppress choruses, or just sing worship songs. It is just an observation that we are still stuck to the terminology of a debate that may be way past its relevance. And while we are muddying the gene pool, let me warn you about the dozens of church musicians who are composing “new hymns” in the denominal world…. It may take us Apostolics a while to catch up with that trend. Whew! This gets complicated…What ever happened to plain ol’ Labradors and poodles?

Thoughts from "Authentic Worship"

noreply@blogger.com (aahrens) — Sat, 11 Oct 2008 01:00:00 +0000

I promised in my last post that I was probably going to be stuck on the function of music in worship. So, here I am delivering on that promise! Sometimes the simplest realizations are the most profound, for example the fact that the song service should not be called the “worship service.” As if preaching, taking the offering, giving announcements, altar service, baptisms, communion – any part of the service you could name – are not worship. Even special functions, such as weddings and baby dedications – things we don’t normally equate with worship – are worship. One of those concepts you know you really know in your heart, but it hasn’t quite made it to your head yet.

So on to what I really wanted to talk about this time.

One of several books on the reading list for the worship class I’m taking is edited by Herbert Bateman, and is entitled, “Authentic Worship.” If you are looking for a good book to refine your understanding of worship, musical and otherwise, I would highly recommend this one. David P. Nelson, in a chapter entitled “Voicing God’s Praise,” makes “three proposals concerning the use of music in worship.” I found these very interesting and wanted to share an abridged version here.

First, music must “properly account for the glory of God.” In other words, Nelson suggests that we need to understand the difference between “moral” and “artistic (aesthetic) excellence.” To be morally excellent is to obey Psalm 24’s command to “appear before the Lord with clean hands and a pure heart.” This purity, Nelson suggests, flows from a “lifestyle of worship that is marked by personal purity and obedience to God.” To be aesthetically excellent does not only mean to have high musical standards of our own, but because the Bible commands it. As Nelson states, excellence is important “because it is associated with the glory of God. The church makes a commitment to a lifelong pursuit of excellence, not for the purpose of impressing other people but for bringing glory to God and making his name great.”

Second, we must properly account for the nature of God’s creation.” Because the Bible demands “equal dignity for all humans,” Nelson asks a question suggested by Eric Routley, which simply says, “Whom is this leaving out?” This doesn’t mandate that everyone in the church will like everything we sing, but it is a question we must bear in mind when choosing congregational music for worship. If we find we answer the question the same every time, it’s time to reexamine our musical choices.

Third, “we must properly account for the nature of God’s church.” This means that, as we recognize and appreciate diversity in all of creation, “we should recognize that, in the church, diversity exists within the unity of the Holy Spirit.” Nelson goes on to state, “worship should reflect the mind of Christ in that we lay aside all self-interest and assume the cloak of self-giving, self denial, and self-sacrifice as faithful disciples of Jesus Christ. (Galatians 6:14)

Interesting stuff, huh? I’m amazed over and over at the depth of teaching on worship in the Bible. All the questions we ask, all the wars we fight over musical style in worship – they are all answered there in His Word. If we could only get past ourselves…….okay, I’m convicting myself now.

Schaffe in mir Gott op. 29 no. 2

noreply@blogger.com (everettg) — Tue, 07 Oct 2008 10:42:00 +0000

Still reading the Psalms. It feels like I've been at it for months. Oh. I guess I have been, on and off. I just came across some old journal entries from Dec 2007... Psalms.

I just picked up a new commentary on Psalms 51-100 and started pecking my way through it, starting at the beginning. It made me wonder: are there any decent songs come out of the words to Psalm 51?

Granted, the first half of the psalm isn't terribly uplifting. Does music need to be? What about a mournful dirge? A sorrowful tune of repentance? It really doesn't suit our typical service. But there might be a good pairing with a preacher's message with a strong focus on repentance.

It also makes me wonder, how was this "song" used in the ancient liturgy of the psalter when they were performed? It seems to me there are a great many verses in the psalms which I would never choose to set to music. There's quite a bit of narrative and imprecations on the psalmist's enemies.

I remember reading these aloud with my wife in our first years of marriage and finding it difficult to read through some of them aloud. It's not all terribly inspiring or uplifting. It seems that is what we want most from our music nowadays. If it isn't one of those songs that makes you want to get up and dance and shout, then it's one of those worshipful "Bless the Lord, O my soul..." a la Andrae Crouch. At least in the worship part of the service. Specials, well that's a horse of a different color.

Which brings me, in an extremely roundabout way (some might even call it a ridiculous non-sequitur) to Brahms. When I was in college I sang two Brahms motets, one in an English translation my freshman year, and one in German in my senior year. I loved them both, but as I was pondering Psalm 51 today, the latter came to my mind. I can't recommend it highly enough. "Create in me a clean heart . . . and uphold me with thy free spirit." Thanks for the memories, JB and BH.

(Oh, in case you were wondering, the other motet was O Heiland reiss die Himmel auf, op. 74 no. 2.)

Long time no blog

noreply@blogger.com (courtney ballestero) — Sun, 05 Oct 2008 23:07:00 +0000

Hey folks! Sorry for the long absence from the Notes section. Here's a quick update from my very eventful summer (the summer season lasts especially long down here in Florida):

- I've moved

- I'm back at work in the public school system

- My husband and I are both enrolled in school

- My musical endeavors have stalled and I'm back to square one

When I first started conversations with Kent I was in a place where I was challenging the current climate of Apostolic music. I was working with a team of Apostolic producers who were energetic and innovative and during that time quite involved with district and national music endeavors. Fast forward two years. Two of my songs I recorded a year ago were lost along with our sound engineer who, apparently, is going to be a rock star. My producer is balancing a huge load in his new role as adminstrative pastor. My time is limited as I'm working full time in the school system and after closing our business last year we are entrenched in the process of starting over. I still lead the Praise and Worship with an incredibly annointed team at our church, but my writing is stalled. I have two and a half songs recorded for my own solo project. I haven't written for any other projects in a year now. I am on PAUSE as far as music is concerned. This would probably explain my absence from all you who visit the Notes page. I apologize, but I have become overwhelmed with anatomy of the monotony.

Can I get a witness? Or to break it down, "Holla at ya girl!" Anybody else stuck on the back forty humming tunes to sheep and waiting for their oil-bearing prophet?

In the mean time and 'tween time I will make my songs what they were originally intended for (as I gulp down my deferred hope) and make it all a part of my own personal worship. Indulge me just a sec as I take a quote from my own catalog:

Just Fine by Courtney Ballestero

When disaster hit/And my life felt more like

A game of pick up sticks/Like a childhood game of hide and seek/

I couldn't find your peace/I stuck my hands up in the air/It sounded

like a prayer

(Chorus)

Don't know where this is going/But there's peace in knowin'/

You're by my side/Don't know exactly what you're doin'/But

you'll see me through it/Just fine

(Bridge)

Cuz when the earth shakes/And the Levees break/Or thhe one you think you love the most/Turns and walks away/Make peace with the pain/Kiss it and call it your friend/It's what leads you/To the point where you can say...

Don't know where this is going/But there's peace in knowin'/
You're by my side/Don't know exactly what you're doin'/But
you'll see me through it/Just fine

NEGATIVITY THAT I FOUND USEFUL THIS WEEK (LEMONADE FROM THE LEMONS)

noreply@blogger.com (RJ) — Sat, 27 Sep 2008 09:18:00 +0000

"OTHER" BLOGS

Ragamuffinsoul.com posted a question a couple of months ago that asked the question "What is the biggest gripe you have about something a Sunday worship leader does?" Replies were being posted up until a couple of weeks ago.

There were many responses, some carnal, some mean, but most were variations on a simple truth, that the worship leaders in question distracted the congregation from the primary purpose of a "worship service". That primary purpose being that the congregation gathers to magnify Jesus so that His presence fills the atmosphere, and all are changed by a sacred meeting between a holy God and sinful man. Music is a powerful tool in this setting. We all spend large quantities of time preparing ourselves and our teams for these occasions every week.

In the midst of the discussion about this subject there was a quote posted that I have adopted as one of my mantras. There was no name given, only that a wise music director once said, "Leading worship is the art of removing distraction."

My mind began to race in a thousand different directions. I wondered what I do that is distracting, I wonder what I do to remove distractions. I decided to list my own pet peeves about various services I have attended over the years and work from there.

MY LIST OF DISTRACTIONS

1. I am distracted by poorly performed song selections, pitchy vocals, and leaders ill equipped to do ad libs.

2. I am distracted by worship "flow" that is interrupted with announcements, greetings, and what I like to call "Pentecostal Liturgy".

3. I am distracted by poorly planned song sets which result in abrupt key changes, awkward tempo transitions, and subject matter that jars me out of sacred moments.

All of these things run interference with my pursuit of intimacy with God. What was meant to facilitate an encounter with the Creator becomes distracting noise.

SELF REFLECTION

This critical assessment of music ministries in other churches has forced me to examine my own practices in planning and implementing song sets. Am I distracting people with my offering? Am I removing distractions and steering the congregation into a God moment? What are my motives, my intentions?

I'd love to hear some feedback from readers on what you find distracting about your Sunday service. I'd also love to know what you find does aid in removing the distractions around you in the same setting.

My new (and changing) view of worship....

noreply@blogger.com (aahrens) — Fri, 12 Sep 2008 16:39:00 +0000

“True worship reclarifies the purposes of God and our part in them. False worship, which can be found as much among God's people as elsewhere, leads to distorted mission.”

I recently read this in an article by Mark Labberton entitled “The Real Worship War” while doing research for Theology and Practice of Worship, a class I am taking at UGST. I am interested and perplexed by the so-called “worship wars” in our churches as much as anyone. Over and over in this blog we have addressed this issue, and I have to thank all of my fellow-bloggers for the great deal that I have learned. As a result of this, my own opinions have been reexamined, expanded, and much of the time, changed. I’ll warn you that I’ll probably be stuck on this subject this semester. So please read and RESPOND – I want to hear and learn more from all of your experiences.

While I encourage you to read this article in its entirety, I want to highlight and examine some of Reverend Labberton’s thoughts here.

“What is ironic and especially pertinent is that many debates about worship are just indirect ways of talking about ourselves, not God. Our debates devolve into how we like our worship served up each week. It's worship as consumption rather than offering. It's an expression of human taste, not a longing to reflect God's glory.”

I firmly believe that the greater cause of our worship dispute lies in the point quoted above. If I really worship God, then the things that matter to Him will matter to me. We have to admit that we are naturally a self-centered lot. As much as we would like to think this doesn’t affect our worship, it does. It’s hard for me to wrap my mind around this when I am in church either playing or standing with the congregation hands raised. Or when I look down on someone who is not saved. Or when I ignore societal needs because I’m too busy or don’t feel like caring.
Reverend Labberton referenced Isaiah 29:13:

“Wherefore the Lord said, Forasmuch as this people draw near me with their mouth, and with their lips do honor me, but have removed their heart far from me, and their fear toward me is taught by the precept of men:”

Worship should drive us to serve. Serve each other in the church building but giving up our obsessive need to have the music our way, with our beat and our lyrics. Could it be that, as musicians, much of our trouble with service outside the church starts with this very battle? I’ll finish with this quote by Reverend Labberton:

“Worship leaders may want to focus only on what seems culturally and socially immediate. But if we are to worship the Lord of all creation, the Savior of the world, then while we are checking the sound system or pondering prayers or sermons, we have to hold on to a wider vision of God's love.”

Teaching and Admonishment

noreply@blogger.com (everettg) — Tue, 02 Sep 2008 19:01:00 +0000

We were singing a song from "Sing Unto the Lord" (the de facto UPC hymnal) in our congregation last week and I noticed something rather unusual. One of the lines in the chorus read "many will meet their doom" (#288, "Jesus is Coming Soon). So I thought to myself, "Now that isn't a lyric you'd hear in a song written in the last decade or two."

On what seemed to be an unrelated note, I was reading a couple passages recently in my devotional reading and came across something a little unusual. In Col 3:16 we are taught to teach and admonish "one another in psalms and hymns and spiritual songs." Similarly, I don't think there are that many songs that dabble in the admonishment business today.

Now the Greek word translated "admonishment" from this passage may have had a slightly different meaning -- Strong gives us the meaning of noutheteo as "admonish, warn, exhort" whereas Merriam-Webster gives a little wider range of meanings... Nonetheless, I consider it noteworthy to discuss a little further.

As we were singing "many will meet their doom" I couldn't help but think about the old-time preaching of "Jesus is coming soon" that can draw people to the altar out of fear of eternal damnation. Now I don't believe that should be the sole motivating factor for people to repent and turn their life around, but it is something that we need to emphasize periodically.

On a couple final tangents, 1) I would like to make a plea for an annotated "Sing Unto the Lord." I would find a well-written history of some of these songs and songwriters very interesting. And 2) I'm interested in your thoughts. Who out there reading this thinks that the "hymnal" is obsolete and should be banished to the occasional "old-time" service or maybe done away with completely? Can you make a good argument for such an opinion? (I think it's obvious where my bias lies!)

Is that the dinner bell!

noreply@blogger.com (SSD) — Fri, 29 Aug 2008 11:57:00 +0000

The scientist Ivan Pavlov won the Nobel Prize in 1904 for his studies of the digestive system. His most famous experiment concerned the conditioned reflexes he developed with dogs. By ringing a bell every time he fed them, they began to associate the sound with their supper. It finally got to the point where they would salivate at the very noise whether meat was involved or not. So what does the work of a dead scientist have to do with music? I’m getting there.

I recently attended a neighboring church that sang a chorus I was not familiar with, but it could have been made for Apostolics. It was rousing and rollicking and I admit I wouldn’t mind having the chord sheet. When the music reached a particularly feverish pitch many in the congregation started jumping at the same time. I had to laugh to myself, because I knew what was happening. It was the Pentecostal version of the “dinner bell.”

I can remember growing up in church and the choruses that would come and go. There always seemed to be a particular tune that could get the people on their feet. One year it was:

What kind of church is this?
This is a sanctified church!
It’s a hand-clappin’, foot-stompin’, tongue-talkin’
Church of the living God.

Another favorite was:

Whose report will you believe?
We shall believe the report of the Lord.
His report says I am healed.
His report says I am filled.
His report says I am free.
His report says VIC-TOR-Y. (Duh-dah-duh-dah-duh-dah-dah-dah-DAH!)

I believe it was on the “VIC-TOR-Y” that we always started hopping up and down. And, oh, how exciting it was!

So there I was in another exciting service and I had missed my cue. Because I didn’t know the song. And I wasn’t programmed to respond to this particular “bell.” This all might sound a little cynical, and I really don’t mean it to be. I love our lively worship and I love people who are not afraid to be demonstrative in their praise. But I also think we should be careful not to salivate when there isn’t any “food” around. Are we jumping and dancing as part of our glorifying God? Or is it just a particularly funky chord pattern we like in the song? Let’s be sure that we keep the meat in our message, so that we really have something to shout about.

noreply@blogger.com (RJ) — Fri, 22 Aug 2008 16:25:00 +0000

Several months ago we introduced a new song to the congregation, the
response was amazing. The song is still on the "favorites" list for Sunday
mornings. A couple of months after this, several of us saw the new Hillsong DVD
and the writer of this particular song was on stage with an oxygen tank reading
a passage from Isaiah prior to singing the song. We were all deeply moved and
the song took on new meaning for us.
This past week, it was revealed that the author of the song "Healer", Mike Giglielmucci, has faked a terminal illness for the past two years. He had successfully hidden it from his family and friends. It has been a topic of discussion for the past two days, and I found a response on a blog by John Finkfelde, an Australian pastor, that I would like to share.

Russell Evans, Planetshakers Church pastor, issued a statement last night about Michael Guglielmucci, renowned Australian pastor and song writer whose struggle with cancer has been widely chronicled. His song "Healer" has been featured on the latest Hillsong CD & DVD.
Michael Guglielmucci has informed us that he does not suffer from cancer, was never diagnosed with cancer, and has never suffered from the disease. This admission has come as a great shock to everyone including his wife and family who had no knowledge of the matter.
This shocking news has left me dumbfounded.
Michael's deception and betrayal will wreak havoc - unbelievers will mock the church, Christians in the workplace will face increased cynicism, pastors will be less trusted, and the supernatural nature of the gospel will be openly questioned.
So why do pastors lie?
Same reason anyone lies - approval, pride, survival, prestige, and ego.
The difference is that pastors are required to live impeccable (not perfect) lives so that Christ is honoured and people are shepherded securely.
This is an entirely appropriate demand. When leaders ignore it, hell rejoices and breaks loose.
What to do?
First, it's OK to be angry and disappointed.
Second, reject the easy option of projecting Michael's failure onto all and sundry. It's his sin, not mine... or yours.
Third, pray for... yourself, your friends, your church, & the Guglielmucci family. Also, the Planetshakers and Edge churches - it's going to be a tough Sunday for them this weekend.

Well said, John. By the way, I am still singing the dog out of
that song... I love it!

Self-help or Christian?

noreply@blogger.com (aahrens) — Fri, 08 Aug 2008 02:50:00 +0000

Sometimes I think I’m getting old and stubborn. Or maybe old and increasing inflexible. But I suppose I’ll leave that to you to decide. What brought this bit of self-examination on was a session the faculty at Gateway had recently with our accreditation advisor, Dr. Charles McNeeley. We were dissecting each word in our mission statement and objectives for the college when Dr. McNeeley brought up a point that, despite our careful wording, we sometimes had a tendency to overlook or worse, assume. His point was this: in all that we do as Christian instructors, we must always be careful to emphasize that without Jesus Christ, you are lost. Notice he didn’t say, “without GOD you are lost,” rather he specifically used the name of Jesus Christ. He told us it had to be all over every policy, every manual, every objective, every syllabus. In essence, it must permeate everything we do, say and write. Dr. McNeeley further pointed out that Muslims believe in God, Jews believe in God, DEVILS believe in God – and have the good sense to tremble! But they do not speak the name of Jesus Christ. This is the important difference.

What really got the wheels of my mind rolling was Dr. McNeeley’s final comment that he notices the lack of the name of Jesus in our music. I guess I’ve never thought about this until I considered that “God” is really a very generic term – used by myriad religions to represent myriad beings. So why do we leave Jesus’ name out of our music? Is it just because it doesn’t rhyme well? The syllables do not work out right? In reading through the lyric inserts in some recent CD’s I’ve purchased for myself or CD’s I am reviewing for this website, I not-so-shockingly discovered that many of them did not use the name of Jesus AT ALL!!

A deeper issue…..

Maybe I just think about this too much, but I have noticed that the definition of “Christian Music” has broadened quite a bit in the last few years. Many new Christian CD’s now contain music about life – what I call “self-help” music. This “genre” of music has exploded in much the same way that the self-help book genre has. Although I believe there is nothing wrong with writing a positive message about life, I don’t like to have to guess if the artist is singing to God, if God is singing to them or if they are singing to their significant other. Make sense? Of equal concern is what will those who know nothing of the Christian message think about the CD? Is the message too vague for the average listener to interpret? If you consider the music of Steven Curtis Chapman or Mercy Me, among others, you know exactly what they’ve had to say, where they are coming from and what they believe. Is it important to consider music from both the believer’s and unbeliever’s viewpoints? (As a side note, I don’t particularly care for the words “believer” and “unbeliever,” but will use them for lack of a better choice.)

Who are we about?

Dr. McNeeley later pointed out to me Ephesians 1:11-12, which states:

In him we were also chosen, having been predestined according to the plan of him who works out everything in conformity with the purpose of his will, in order that we, who were the first to hope in Christ, might be for the praise of his glory.

I think the bottom line could be simply stated as this: It’s not about us. This scripture talks about HIS will and HIS purpose and the fact that we are “for the praise of HIS glory.” This could be the only criteria we need with which to examine our music. There should be no compromise in our message for fear that we might offend a certain audience or better attract another. And this brings me back to the vagueness in the message of much of the music labeled “Christian.” Let there be no question about who is receiving the attention – the glory from the music we sing, whether in a congregational worship service, group or solo. Does it make us feel good or lift up Jesus Christ?

Just a Piano Player

noreply@blogger.com (everettg) — Tue, 05 Aug 2008 10:45:00 +0000

I quit!

What else do you want from me? I'm just a piano player!

No, I can't give an extra hour of my life to "musician's practice" at church (on an off-night, no less), not to speak of the "six hours a week" I'm expected to devote to practicing my "technique" that our church's music director has "kindly suggested" that I need.

I play quite well if I do say so myself. I've only been playing for the last twenty years (and ten of those years as the "main" keyboardist)! So I don't know any 9 chords or 13 chords and I can only play in five different major keys and one minor key. It hasn't been important so far so why should I learn now?

I just left the hospital visiting my terminally sick uncle and have to run over to pick up my kid at daycare and rush him over to the church for Bible quizzing practice. And this on an "off-night" at church. And, during Bible quizzing practice I meet with some guys at Starbucks for a Bible study I've been teaching. One of them is actually getting baptized this Sunday. Otherwise that would have been a perfect time to run through the list of songs Dave gave me yesterday night for Sunday's service tomorrow. Oh well, maybe I can sneak in a few minutes during adult Sunday School.

I manage to make it through most of the songs without glaring errors, even when our music director is sick and I have to pick the keys and play out strong. I had to skip new chorus practice last month because we live 20 miles from church and can't afford to drive separately (my youngest needs to go home straight after midweek service and can't stay the 45-60 minutes it takes).

So if you don't appreciate what little I have to give, then maybe I am not serving God's purpose and I should resign. Or at the very least take a sabbatical until my life can be reorganized to meet your needs.

NOT!

I don't really have an uncle in the hospital and my three year old is not yet memorizing Scripture! And most of the rest of the above is complete fiction as well. Just thought I would toss y'all a bone to chew on.

Certainly, I have written the foregoing as an exercise in negatively arguing against my beliefs. I believe every musician needs to practice and needs to spend some time in prayer specifically over their music-making and the worship portion of the service prior to the start of service. But our musicians are a limited supply and mostly volunteer corps living in a world where time is a commodity that cannot be bought but at all too high a price. Given the option of practice or prayer within a tight schedule, I will choose prayer!

I desperately wish, at times, I had six (or even one or two) hours a week to devote to practicing. Ah, the days of college, two, three, four hours a day in the practice room! Drudgery at the time but never thought I would miss it!

One last request: please do not misunderstand me -- this is FICTION -- the "attitude" and any perceived "tone of resentment" in the foregoing in no way reflects my actual beliefs regarding doing music ministry. I respect and honor all sincere and humble church musicians.

What am I listening to? Not much, these days. What am I reading? A draft of David Norris's "I AM."

Thoughts before coffee on the weekend...

noreply@blogger.com (RJ) — Sat, 26 Jul 2008 17:14:00 +0000

SUNDAY MORNING SERVICE

I want to invite you to come to a little hypothetical church service. We are going to start this service by following the example shown us in Psalm 100. We are led in this journey by a group of skillful musicians and singers who fill up an entire platform that is raised slightly above the level of the rest of the congregation. There are even spotlights for the lead singers on certain songs. When we have lingered in the presence of God for a little while, the platform begins to empty and a preacher steps behind the pulpit to deliver the Word. As we listen, our hearts are convicted, and we are moved to repentance and rededication as the minister closes his sermon. The atmosphere is set by a beautiful song of consecration that is sung by singers and played by musicians who have once again filled the platform to do their ministry.

Someone recently said to me that they felt their praise team was more about performance than ministry. I asked them what it was that made them feel this was the case, and they responded by saying that it might be the lights. The lights? So if you take away the lights, then you will have worship and not just performance? I wonder if you removed those singers from the center of the platform and your focus was forced away from human activity if you would still feel they were simply performing?

We have spent many sermons and workshops admonishing musicians and singers to not think more highly of themselves than they ought to think. When we are done with our preaching, we push them right back out in front of everyone and say, "lead us in worship." We put them on display and hope that they do not disappoint us by appearing anything less than enraptured by the presence of God.

SEEKERS OF PRE-EMINENCE

I wonder if we removed the singers from the front of the church if I would still have the same talentless people try out for choir and ensemble? If the drummer was no longer in front of everyone's face every week, would we still have a waiting list for drum lessons, and only one new drummer added to the music department in two years? If the congregation and ministry didn't stare at the singers and musicians during worship, would we still hear so much about carnality and pride in the music department? Maybe, I don't know, I am just thinking.

I am so fed up with musicians who do not practice during the week. I am tired of having to explain to someone that their vocal abilities are not something we want to display with a microphone only to have them say that their "passion" is music ministry. There are too many people who have a desire to be on the platform, but their weekly musical activity is limited to midweek rehearsal and Sunday morning service.

I want to turn the focus from platform visibility and turn it towards musical excellence, diligence, and sacrifice. I believe if we made a collective effort to do so, we would see less accepted musical mediocrity, which is another of my pet peeves. I believe we would see the music department gain more respect from the pastor. I believe that the music team itself would start to understand the importance of their role and responsibilities.

SUMMARY

Just thinking out loud... technically it is not out loud... I haven't read it out loud...

Don't knock me down. I'm carrying the Ark.

noreply@blogger.com (Laura Payne) — Thu, 17 Jul 2008 15:55:00 +0000

For a while now I’ve been fascinated with the relationship between Priests and Levites. There certainly is a powerful model of fellowship and unity that exists between these appointed Biblical orders.

Consider the following passages (NLT):

“Then the priests and the Levites purified themselves in order to bring the Ark of the Lord, the God of Israel, to Jerusalem. Then the Levites carried the Ark of God on their shoulders…” (I Chro. 15:14-15)

“David also ordered the Levite leaders to appoint a choir of Levites, who were singers and musicians to sing joyful songs to the accompaniment of lyres, harps and cymbals.” (I Chro 15:16)

“David appointed the following Levites to lead the people in worship…” (I Chro 16:4)

“The work of the Levites was to assist the priests, the descendants of Aaron, as they served the house of the Lord….And each morning they stood before the Lord to sing songs of thanks and praise to him. They assisted with the burnt offerings…” (I Chro 23:28-32)

The Old Testament gives examples of priests who played instruments, Levites who carried the ark, Priests who carried the ark, and Levites who sang. Their roles seemingly intertwined without difficulty or anxiety. Both priests and Levites served faithfully to guarantee that the sacrifice went up to God and the work of HIS tabernacle continued.

Priests and Levites = Preachers and Musicians?

When I think of Priests and Levites, I start thinking about Preachers and Worship Leaders/Musicians. Sadly, few music leaders ever experience joy, honor and God-ordained unity in their associations with a preacher or pastor. Trust me, I fully understand the fragile ground on which I am gingerly treading!

It is not uncommon to hear a well-meaning preacher launch into a diatribe of frustration and lecture about the glaring flaws that exist in his own music department OR the ministry of music at large. In my 14 years of ministry, I have heard musicians and singers chastised for pride. Warned about homosexuality. Instructed that the Word has pre-eminence over the Song. Informed that no other department brings a pastor as much grief. Reprimanded for not worshipping. Cautioned against secular musical influence. Humbled into a state of Kingdom-worthlessness.

And through it all, many of my colleagues are simply striving to accomplish what David ordered years ago. Our passion is to carry the Ark on our shoulders. We seek to fulfill our part in the sacred act of ushering in the presence of God.

I see fellow worship leaders and musicians who function as Prophets and Teachers and Evangelists. (Aside: The Bible clearly defines music as prophetic in nature. It also defines singing as being for purposes of instruction or teaching. And every pastor would identify music as a potential evangelistic tool in their community.) However, those who carry the mantle of Pastor are not embracing the Prophets, Teachers and Evangelists around them if they do not appear in the anticipated cloaking of a licensed minister. (See random picture of preachers at General Conference! Used for illustrative purposes only.)

Although I could write a lengthy commentary, I’d rather provoke individual thought. Perhaps one day the following questions will be discussed in a safe, neutral environment. Consider this my proverbial can of worms… here comes the can opener:

Questions to Ponder

1. If priests and Levites worked so closely in the OT tabernacle model, can we not see precedent for a great camaraderie between preachers and music leaders?

2. Do preachers mistakenly fail to draw a worship leader into their inner circle, choosing instead to only openly dialogue with other “preacher” personalities? Does this create tunnel vision because the preacher has not widened his or her perspective? Does it also contribute to a lack of shared vision?

3. If pastors and evangelists were able to dialogue in a healthy, spiritual way about the music ministry with those who are involved in it, would it eliminate the need for public rants about their pet peeves? Do we have a bunch of “frustrated” pastors that just need to “sit down and talk it out” instead?

4. Is it possible that we have witnessed such failure rate among worship leaders/musicians because we have not placed appropriate importance on the sacred, spiritual role of worship leaders and music? If the music ministry is not mentored by a transparent, communicative leader is it possible that he/she will never reach their full, God-ordained potential?

5. Finally, because I am a woman, I wonder if some of this lack of communication and camaraderie results from the gender issue? Is it difficult for pastors to have good discussion with female leaders because they are working to maintain appropriate safeguards?

Musing from my music-logged mind....

noreply@blogger.com (aahrens) — Fri, 11 Jul 2008 19:14:00 +0000

The past few weeks I've been preparing for a choir workshop I'm heading up next week. It's a blessing when the choir is excited, and the musicians are hard at it, hashing through all those chord sheets. One concern I always have in this situation is that I know I have very specific music likes and dislikes and, thus it's difficult to find music that I will enjoy teaching and the choir and musicians will enjoy singing and playing.

Well, I obviously missed it this time! (chuckle) After mailing my packet of CD's and chord sheets I got a few emails from various choir members requesting different songs. They weren't rude, just had some songs they had wanted to sing and thought this was their opportunity. Now, don't misunderstand, I was very happy that they chimed in - after all it's their choir workshop, and they are stuck with those songs long after I leave! But this all got me to thinking about my blog a couple of months ago in which I wondered who is the "poet" of Pentecostal music. While in this blog Kent and I concluded that it must be Israel Houghton, I want to submit another name: Chris Tomlin. At least in my home church. It appears from my recent experience and some conversations I've had with a few friends, that these two guys share the top spot. Think about it for a moment: where would we be without their recent additions to our musical repertoire? Over and over it seems that when I hear a new song I really like and ask who it is by, inevitably it's one of these two!

So that brings me to the question: Since Chris Tomlin and Israel Houghton are so different in style, what determines which one we choose? Does it have to do with the difficulty? It's obvious that Chris Tomlin's music is very straightforward in chord structure and melody line. Try writing out a chord sheet for some of Israel's songs and you're in for a trip! I have to think that those of us who cut our teeth on the black gospel craze in the 80's and 90's might prefer Israel's music since it is such a fusion of gospel, jazz, and rock. Or is it the setting that determines the choice? Some congregations might have trouble singing some of Israel's songs, especially older congregations. Although I realize there are exceptions to all of these scenarios, it seems that for the most part, that's the rule. Then again, there's alway the regional influence. Do folks in the south prefer one or the other? I'd like to know, for no other reason but to satisfy my wondering mind. I just find it fascinating that we Ap's seem to latch on to certain artists so tightly. I sure hope these guys don't decide to hang it up and start selling books door to door - we'll all be in trouble.

Now I'm off to reign in my wondering, music-logged mind.

Happy July!

By the way, sorry for no photo - blogger is not cooperating.

Also, since I always forget to do this, I'm reading Sacco & Vanzetti by Bruce Watson and you know what I'm listening to...

The Ancient and the Modern*

noreply@blogger.com (everettg) — Thu, 03 Jul 2008 01:52:00 +0000

I can't believe I'm late. Sorry. I was supposed to post yesterday.

I have a hard time imagining David, the shepherd, walking along humming quietly to himself. I have a hard time imagining him with harp in hand plucking out a tune, much less playing before the king, soothing the king's troubled soul. For one thing, we don't have a copy of David's harp. We can reconstruct one based on imagined ideas of tuning or modes, but in reality there is no way to know what those songs sounded like at all. Which is too bad. I'd really like to hear some authentic praise.*

Not that what we sing isn't authentic praise. I like our contemporary gospel sound, whatever its guise. Despite my posturing, I have an honest respect for most all forms of spiritual-musical expression. (As well as many forms of less spiritual musical endeavours). But some of the music that touches me the most comes from African voices.

I had an experience last year where we had the privilege to travel to Ghana and worship at one of the local churches in the capital by the Bible school. I was scheduled to speak and had chosen as my text an excerpt from Psalm 1, "he shall be like a tree, planted by the rivers of water." As I was preparing notes, a melody formed in my mind around those words. Or I should say I started to craft what I perceived to be an African-influenced melody. Or maybe I should say instead that God gave me a tune to go with those words. It had the same first three notes as the chorus "There is Power, Power, Wonder Working Power" -- but the tune diverged considerably from the rhythmic and melodic thrust of that song.

In any event, during the service, just before speaking, I started singing this little song. I had asked the musicians and the choir to stay in place and help me, and to my everlasting pleasure, the musicians and choir actually started playing and singing this little song with me, with some slight rhythmic adjustments more suited to their style. After the service it was related to me by one of the missionaries that one the local guys asked either whether or how I knew that was a song they sang. I'm sure he didn't mean the words, but rather, the tune. Apparently it was similar enough to something they sang that they thought it was the same song.

I feel like I should close this post with some sort of pedagogical application (how in your life have you experienced composition, inspiration, etc.) or maybe offer some kind of philosophical musing on God's role in the inspiration of composition, but that's not where I'm at today. I'm just left with the simple fact that God is, and I delight in Him.

* Any similarity to titles of books on my shelf by the title of this post or another phrase in this post is purely coincidental and has no intentional overt or subtle added meaning.

noreply@blogger.com (RJ) — Thu, 26 Jun 2008 22:41:00 +0000

THE POST

I was having a casual conversation with an acquaintance who stated that she saw no reason for her church to pay copyright fees for the music they used in their weekly services. She said that because of the small size of the church and the fact that they didn't record their services, there was no legal obligation on their part to pay anything to the songwriters for using their songs. I tried in a tactful way to inform her that she was in fact very wrong about the issue. This person became very angry, and because I am not actively collecting copyright fees for songwriters, I let the matter drop.

After this encounter, I have discovered that my fellow music minister is not in the minority with this mindset. I know of only two churches in my area who pay any sort of copyright fees, and they are considered "smaller" churches by this area's standards.

I am posting far too early to say that I have done any significant research on this subject, but I want to share some impressions regarding the matter. I am finding that music ministers, pastors, and congregation members respond with a self righteous "why should we pay for worshiping God?" to which I usually respond, "because it is the law." The rest of the people I have spoken to about this issue seem not to care one way or the other. If their church pays, fine, if not, that's fine too. I suppose this would be the post modern young people, but this hasn't been an official survey with demographic breakdowns.

QUESTIONS

I wonder if this is a topic we should try to present at our music conferences? Would it make people more aware? uncomfortable? convicted?

THE LAW (Yes, yes, yes, we are set free from this)

The law requires churches to pay copyright fees for having lyrics displayed by slide or transparencies, recording a song service on a church CD, and even keeping a database of songs for your church computer.

Within our Apostolic/Pentecostal movement, would you say that we abide by the law, make excuses for why we can't, or do we just not care?

Mittelgrund

noreply@blogger.com (aahrens) — Fri, 13 Jun 2008 19:43:00 +0000

Robin Johnston, curator of The Center For The Study of Oneness Pentecostalism (a.k.a. my illustrious boss), pointed me to a chapter in a very interesting book, “The Future Of Pentecostalism In The United States” by Eric Patterson. Chapter four, entitled “Music in the Pentecostal Movement,” by Calvin M Johansson, hit directly on some of the conversations carried out on this blog. As time and space do not permit me to share it all, I wanted to present an interesting point or two from this chapter.

“The arts influence as well as reflect the values of a culture. They also influence and reflect the values of religious institutions. Everyone, including believers, has a worldview which regulates artistic choice.” (pg 49) Johansson then sets out to follow the progress of the arts in the Pentecostal movement, dividing them into three categories: Hintergrund – ca. 1900-1945; Mittelgrund – 1945-2000; and Vordergrund – 2000-present. (pg 50)

Because of the aforementioned limits, I wanted to bring up a few points Johansson made in reference to the “Mittelgrund- 1945-2000.” Prior to this period music was chosen on the basis of its functionality. Music during the period 1900-1945 mirrored the popular songs of this time. Johansson shares that most people preferred “low art” – folk songs, ballads, etc. – and so the church “fostered a philosophical attitude of musically accommodating the gospel.” (pg 52-3) I found this very interesting in light of the recent conversations on this blog regarding the hymn/chorus debate, in addition to other arguments on this website which claim hymns to be more “spiritual” than choruses.

On to the Mittlegrund….

Johnansson states that the “strong worshiper participation in congregational singing waned as the years of the Mittelgrund (1945-2000) advanced.” (pg 54) Folks no longer felt free or compelled to simply shout out a musical selection; instead they were chosen by a song leader or worship band. He states that music in the church became less of a congregational effort and shifted more to the “leaders and electronic gadgetry.” (pg 54) This next statement, which I’m still pondering, has troubled me quite a bit: “Going to church became an activity in which one sat back lost in the crowd to watch worship unfold.”

Contemporary Christian Music (CCM), according to Johansson has taken church music by storm. He makes the argument for the “objective Biblical connections” found in hymns, which were left behind for “emotionalistic euphoria” found in CCM. (pg 57) It seemed to me that, after considering that early church music simply resulted from putting religious words to popular music tunes/styles, that we haven’t really changed that much. But then I read this next statement, which again, I’m still pondering: “The music of rock [1950’s] was entertainment music, pure and simple. It had no redeeming qualities of edification or aesthetic enrichment – qualities that the better gospel songs shared in to some degree.” Johansson goes on to argue that when we place lyrics to “a music of rebellion, frivolity, or amusement” we do not change the music’s basic ethos. Entertainment music used in worship transform[s] worship into entertainment.” (pg 57)

And so I wonder....

Having quoted and said all that, I have to wonder if the source of the friction we often feel in our music comes from this supposed shift to entertainment as opposed to spontaneous participation. We all have to admit that our music has become more and more complicated. I’m as guilt as the next person of setting in service at my church or a music conference and focusing on the complexity of the music (the pushes, the syncopation, the progressions, etc.) instead of participating and absorbing the message. I don’t know that this argument will ever be settled – seems it’s been going on since the beginning of our movement. I’ve got a lot to think about here – and the rest Johansson’s chapter to read!

Musings, Shmoozings, and Shots of Novocaine

noreply@blogger.com (courtney ballestero) — Wed, 11 Jun 2008 01:50:00 +0000

Hello Friends!

As I've mentioned before, I am a public school employee specializing in primary education in the Exceptional Student Education department of my children's school. I am a part of inclusion interventions for children with all sorts of problems ranging from ADD to Asperger's, Autism and Dyslexia.

It is the most fun I've ever had.

It is the least I've ever been paid.

And now since it is summer I am unemployed for the next two months. I'll be honest: I am not thinking about music...at all. I've explored the local beach, went swimming with my kids at my friend's house who was out of town, hit up Starbucks and GameStop (the latter being my least favorite but I suffer it because I have boys). Did I mention I'm selling my home? So let's just say I'm not writing songs right now unless they involve laundry folding. However, since it is my week I'll just share a few funny things from my life where music is not the focus of the musing, but rather the background noise - the wallpaper if you will.

FUNNY

So as I mentioned I teach little kids with problems how to read. My husband loves my stories, and really they can be quite hilarious. If in fact you are ever in Clearwater and we are sitting around a table at Chili's I will share my "Ground hog's Day" story or the "The Never-End Salutation." Uh, I digress.

So imagine my surprise Sunday morning when while I am leading praise and worship I look down to see a little familiar face standing next to my five-year-old son (who is a permanent fixture at the altar during P&W). So I'm placing....I'm placing....ohmyword!! It's "Jose" from my school! This little boy is the source of many of my funny stories. He is the sweetest little rascal who is, what we who deal daily with Autism call "on the spectrum". He has autism and serious language issues. He is our conundrum, but arguably our favorite conundrum. I've had plenty of conversations with his wonderful family, who happen to live close to our church, but being that I am a county employee I have not had the guts to outright invite them. I have told them where my church is and that I pray for them. I guess they put two and two together and came on over. So there is "Jose" pretty much climbing up the steps to greet me, his face beaming with recognition. I love this kid. So I gently take his hand and give him a quick hug and hand him over to the Sunday School director. I love my job. I love my church. This is a place that can be interrupted for a child without conflict. Kinda like Christ.

In The Chair

I'm terrified of dental work. Once while getting my first root canal I had such a reaction to the epinephrine in the pain medicine they were administering that I had a full on panic attack in the chair.

"IS THIS NORMAL?!" I asked while legs are arms were flailing uncontrollably. The doctor said "yes" while shaking her head No.

Since then I put off getting a crown so long that I had to have an emergency extraction the day before my brother-in-laws wedding. I drove myself an hour to the oral surgeon and then had to sadly refuse the narcotics they gladly offered. After the doctor proceeded to list the negative results pulling a tooth can invoke (did you know you could have a heart attack from this?) I decided upon music therapy along with novocaine.

While they yanked, and drilled, pelted with what felt no less like hammer and chisel, I hummed rather loudly:

I hear the Savior say,

“Thy strength indeed is small;

Child of weakness, watch and pray,

Find in Me thine all in all.”

Jesus paid it all,

All to Him I owe;

Sin had left a crimson stain,

He washed it white as snow.

As the The Excavator removed his rubber gloves he turned to me and said, "Yes, He did pay it all. More than we could ever afford to repay."

So there you have it devoted Notes readers. I have posted. And now I will go have a sugar-free popcicle. Enjoy your summer! And take time to sing!

Music Ministry

noreply@blogger.com (everettg) — Tue, 03 Jun 2008 18:23:00 +0000

I had an opportunity for ministry recently where I was talking with someone who was going through a struggle. This person has had a difficult time relating to God from a "going to church" or "reading the Bible" kind of perspective, but in the moment, the words of scripture came to me in song. And so I sang. And God touched that person through music.

It is easy for us to overlook the difference music can make in our everyday life. When we think of music ministry we usually look to the worship leader or praise singer or instrumentalists. Or we look to the "special" musical selection. But we need to be aware of the opportunities there are to reach people on an individual level through music.

What about going to a nursing home and playing or singing some old songs? The songs may even be from a Presbyterian or Methodist hymnal, or whatever the majority of residents are. Just a thought.

I've followed with interest the thread on whether we should cater a musical style to reach the youth all the while seeking to retain a balance in our services and ensuring that the hymns are never replaced. Of course I believe it is good to maintain a diversity of musical styles. But how many of our churches have silver-haired worship leaders? In addition to ensuring that the songs we sing were written or made popular within the last ten years, wouldn't it also be good to have at least one of our rotating cadre of worship leaders be one that has had fifty or sixty years' of experience singing Pentecostal music? I have no doubt there are some churches that do, but those seem few and far between.

Lastly, when we talk about the need to incorporate a hymn into our worship services here and there, (at least one per service, if not more) I think it would be good to emphasize the positive qualities of such songs as opposed to viewing it from the perspective of the need to minister to the elder saints. It seems to me the quality and depth of message in most hymnal songs outweighs that of most contemporary worship songs. Granted, some of the songs currently making the rounds skimp less on message than those that were popular a few years back. But we still face a serious shortage of original music trumpeting the distinctives of our Oneness message.

A Musical Time Warp

noreply@blogger.com (SSD) — Fri, 30 May 2008 12:24:00 +0000

Bible College Reunion Time. It’s great for dredging up nostalgic emotions, and reminding you how old you’ve gotten at the same time. I wandered around same historic campus. Ate breakfast at the same round tables in the cafeteria. And reminisced about the good old days galore. But one of my favorite parts was an impromptu exercise when the classes from different decades each sang a song that represented their era.

As well as I can remember, the Sixties & Seventies graduates went first with the traditional school song. The Eighties sang something I don’t remember (Sorry!). The Nineties clowned around, holding up a lit cell phone while they sang “Your Grace and Mercy.” Then it was our turn. We new millennium babies had the works with funky sounding piano chords, string-popping bass riffs, and uncoordinated choreography. It was a hilarious, beautiful mess. The audience was “blessed” with my keyboard skills during this exercise, and here I thought I had left the dreaded duty of playing in Chapel far behind me. To all who had to listen that day, I sincerely apologize.

Now this is the time where I could draw out some moral lesson of how you can worship God, no matter what the style or musical ability, but that’s not really my point. In fact, I’m not sure I have a point. The truth is we were having fun. Messing around. And certainly not trying to touch anyone’s heart with our songs. But in the midst of all that clowning, I think a lot of hearts were touched – at least mine was. One of the best side effects of music is that it often acts as a time machine, instantly transporting us to happy memories of the past with the use of a few familiar notes. My brain lost any worthwhile recollection of algebraic formulas and the table of elements a long time ago, but I can still sing you many tunes from High School Chorus (some even in Latin). There are countless little ditties packed inside my cranium, and, though sometimes annoying, I want them all to stay right where they are. Each song has a memory attached, and I’m grateful for the emotional nudge it gives me that brings a smile to my face, and helps me feel like a kid again.

Kid's Eat First?

noreply@blogger.com (Laura Payne) — Wed, 21 May 2008 18:56:00 +0000

There has been a lot of weighty topics floating around Notes in the past several weeks. I’ve cocked my head and said “hm..” more than once or twice. And in typical reflective fashion, my own brain has been the ‘lucky’ recipient of many brilliant replies! Without doubt, the neurons are firing. I thought I would tag into Ann’s recent post and tackle Dr. James Little’s thought-provoking question:

Are youth the only age group we are trying to attract?

The obvious answer is, No. But maybe yes? And is it OK to say yes? In the interest of stimulating great conversation, let me present a model that has influenced my own song-selection philosophy.

The Dinner Table Model

Ross Parsley serves as worship pastor at New Life Fellowship in Colorado Springs and is a dynamic worship leader, recording artist and teacher on worship. At IWI (International Worship Institute) several years ago he presented a model for cross-generational worship which equated our worship offerings and musical selections with the “family table.”

Think about a dinner table in a home with children. (Tragic, but for some families, it’s hard to draw a mental image! But that’s conversation for a WHOLE OTHER blog!!) Everyone is welcome! Everyone is fed! The generations are well-represented. But, without a doubt, the conversation revolves around the kids. Just this week in my home, we’ve talked planets (Mercury, in particular!) and dogs and why sweet potatoes are orange. We’ve cleaned spills and wiped faces and given stern admonitions to “finish ALL your food.” Truth be told, I’d rather talk about a lot of other topics. But as nurturers in our home, my husband and I comprehend the simple truth that dinner is all about the kids.

Pizza again?

We even simplify our meal choices! Healthy servings of green beans, salad, meat, and potatoes often find their way into our menu. Honestly, the kids just aren't going to appreciate Thai food like we will!

Ross Parsely suggests that the weekly worship service is to the church what the dinner table is to the family. In these moments, it is OK and in order for the mode of communication to be centered around the preferences of the kids. The older people understand and even delight in the simplistic, joyful expressions of their young. Out of a posture of maturity, they support the growth and learning that is taking place. It doesn’t dismiss the need for “intelligent” conversation, nor does it deny the need for maturing that will surely come to a healthy child. But it gives a platform or entry point where the young are celebrated.

This model really rocked my world. How beautiful to be part of a healthy church where the older embrace the younger, and the younger respect the older for their willingness to put personal preferences aside. It really does sound like… aha… the body of Christ!

I am a big proponent of cross-generational worship. I have never thrown out the hymns. In fact, just this past Wednesday we sang a “He Looked Beyond My Faults and Saw My Needs” in honor of the great Dottie Rambo. (I attended her memorial service on Monday… whew! A whole topic for another post!) It was a moving song selection and ministered in a poignant way.

But I must take accountability, just as the pastor does, for the natural progress of babies from milk to meat. And, if our weekend worship services are defined as our entry point into church culture, then I should present music that is dynamic and meaningful to the young. And those who are mature in spirit will rejoice and understand that, like the dinner table, it really is “all about the kids.”