music

The History of Music in the Orthodox Churches

by

Christians in North America are often unaware of one of the largest and most devoted segments of the Christian church, the Orthodox churches. During the first few centuries A.D., the church remained largely unified. But eventually, a variety of doctrinal and political disputes led to the separation of the church into roughly two main divisions, East and West.

It is impossible not to be profoundly moved by the liturgy of our own Orthodox church. I also love vespers. To stand on a Saturday evening in the twilight in some little country church, filled with the smoke of incense; to lose oneself in the eternal questions, whence, why and whither; to be startled from one’s trance by a burst from the choir; to be carried away by the poetry of this music; to be thrilled with quiet rapture when the Royal Gates of the Iconostasis is flung open and words ring out, “Praise the Name of the Lord!”—all this is infinitely precious to me! One of my deepest joys! (Peter Tchaikovsky, letter to Nadejda von Meck, quoted in V. Volkoff, Tchaikovsky [London, 1975], 169-170.)

So wrote the composer Tchaikovsky in 1877. To enter an Orthodox church, to experience its music, is to enter another world. The Orthodox have a long and sometimes turbulent history, full of divisions and schisms, yet their music has a timeless quality and a changeless beauty.

Constantine and Christianity

It was the new status of Christianity as a state religion in the fourth century that first caused serious problems. The conversion of Emperor Constantine and the spread of Christianity as a “state religion” throughout the Roman Empire brought into focus issues of doctrine and uniformity. This led to the setting up of the Council of Nicaea (325), and further councils in the fourth and fifth centuries, eventually leading to the division of the Roman church from the Orthodox.

Following Emperor Constantine’s adoption of Byzantium as the center of his new Christian empire (he renamed the city Constantinople), the city quickly became the center of Orthodox Christianity. Relations with neighboring Armenia (whose king Tiridates III was converted to Christianity even earlier than Constantine, in 301) were good until the Chalcedon Council of 451, to which the Armenians were unable to send representatives. The Armenians disagreed with the decisions made in their absence and were thereafter branded as a heretic by the Orthodox bishops. The same council failed to reconcile the Coptic and Ethiopian churches to orthodoxy, and they also broke away.

The Five Patriarchs

By the fifth century authority in the Christian world was in the hands of five patriarchs whose centers were Rome, Constantinople, Alexandria, Antioch and Jerusalem. Their jurisdiction extended to numerous districts presided over by metropolitans. The intention was for the patriarchs’ authority to be equal, but the constant rivalry between them strengthened their frontiers, particularly between East and West. Through the turbulence in the East—the many divisions and sects, the adherence to heresy—Rome, by contrast, proved to be a center of some stability, to whom other patriarchs could appeal for dispassionate advice over local disagreements.

The patriarchs of Rome grew ever more aware of the importance of their apostolic succession through St. Peter and believed more and more in the additional authority that this gave them over the other patriarchies. This supremacy was eventually claimed to be absolute, but this claim has never been recognized by the East.

The saddest aspect of this most serious division is the issue that lay at its heart. As before at the earlier councils, it was a question of creed. John’s Gospel states that the Holy Spirit, the third member of the Trinity, “comes from the Father.” Western Christians were required to accept a creed that stated that the Holy Spirit proceeds from the Father “and the Son” (filioque). On this difference and the question of authority was built a controversy which finally (in 1054) became the chief justification of a permanent schism between the church of Rome and the churches of the East.

The Crusades

The incessant arguments over doctrinal matters may seem trivial, but they had very real consequences in the appalling suffering of the common people caught up with one faction or another.

The Crusades proved to be a further disaster both to the credibility and unity of the Christian faith. They began both as pilgrimages and holy wars, bent on rescuing the most precious Christian sites from the Muslims. In the First Crusade of 1095, a Christian army from the West wrested control of Jerusalem from the Muslims after great bloodshed in 1099. But the Fourth Crusade (1202-04) was disastrously directed against Constantinople—Western Christian fighting Eastern Christian. During Holy Week of 1204, Constantinople was sacked and looted by a Christian European army. Many of the spoils found their way back to Europe, where they contributed to the fabulous wealth of such cities as Venice.

Although the reunion of East and West was discussed again, the Eastern Church was too exasperated by the forcible occupation of Constantinople to be able to negotiate. Such carnage, based ultimately on greed, turned the gospel on its head.

The Strength of Orthodoxy

Constantinople was restored as the center of Eastern Christendom and the Byzantine Empire in 1261, but it was much weakened and gradually gave way to the Turks over the next two centuries. During the fourteenth century, the emperor unsuccessfully implored the assistance of the West, hoping that the offer of reunion with Rome could be exchanged for the Western church’s help. Nothing was forthcoming. The gradual decline of the Byzantine Empire led eventually to the conquest of Constantinople by the Turks in 1453.

Curiously enough, the downfall of Constantinople temporarily increased the authority of the Orthodox Church under its patriarch, for the Turks who now ruled allowed them the freedom to worship, if not to make converts or to display Christian symbols (like the cross) on their churches. And the Turks naturally identified religious leadership with national identity.

Under these conditions, the patriarchs of Constantinople retained—and even gained—power and respect. But on the other hand, they lived through five centuries of Turkish rule which proved to be perilous. Many patriarchs were driven from their thrones by the Turks, some abdicated, some were murdered. But the Christians clung to the faith with remarkable tenacity through their example and through the pastoral care of the country priests.

The people of the Orthodox church have also had the advantage of a liturgy that has remained in a language well understood by them and of a church in which they feel truly at home.

Orthodoxy Today

Of the four ancient Orthodox patriarchies, only that of Constantinople has been discussed so far. But the other three, established at the very beginnings of the Christian faith, are still in existence, though their sphere of influence is not what it once was. The Orthodox patriarchy of Alexandria (established by St. Mark) is now small (perhaps 250,000) as most Christians in Egypt are members of the independent Coptic church. The region of this patriarchy also covers countries like Saudi Arabia and Libya, which are nowadays almost wholly Muslim.

Antioch at the time of its conversion was an immensely important center, politically and economically. Its patriarchy was established at a very early stage in Christian history (earlier than A.D. 45) but down the ages Christians in the region have become independent (such as the church of Cyprus) or heretical (such as the Jacobites and Nestorians). Many Christians in the region are now Uniate (that is, they owe their allegiance to Rome). All this has eroded the influence of Antioch as a center of Orthodoxy.

Jerusalem is such a vital and emotive center for Jews, Christians, and Muslims that its Orthodox patriarchy has inevitably seen great turbulence. This is the church whose traditions Egeria described at the start of the fifth century. Even then the city was a center of pilgrimage for many faiths. The church in Jerusalem has striven to keep the peace under these most difficult circumstances.

The Orthodox Church also consists of a number of other branches, all of whom are now independent, though they use a very similar liturgy in their appropriate languages. The church of Cyprus became independent in 431, the church of Russia in 1589. Greece remained under Turkish rule with only interruption (1684–1718) from the fifteenth century to the nineteenth. Modern Greece came into being in 1829, following the defeat of the Turks by Britain, France, and Russia in the naval battle of Navarino. Shortly after, in 1833, the independent Orthodox Church of Greece was created, with its metropolitan in Athens. Later in the nineteenth century, the Orthodox churches of Bulgaria, Yugoslavia, and Romania also became independent.

Music in the Worship of the New Testament

by

From the beginning of the New Testament experience, the believer’s response to Jesus Christ has included song. Most of the New Testament songs or hymns have found their way into the enduring liturgy of the church, including the Magnificat, the Benedictus, the Gloria, and the Nunc Dimittis. New Testament music in worship included psalmody, hymns composed in the church, and spiritual songs—alleluias and songs of jubilation or ecstatic nature. Further, many of the elements characteristic of later liturgical practice are rooted in New Testament actions and elements of worship.

Early Christian Worship It is not just a coincidence that the birth of Christ was announced by an outburst of song which is recorded in the first two chapters of Luke. Since that time, the Christian faith has been expressed with joyful music that has not been matched by any religion in history. The four canticles found in Luke are psalmodic in style and are traditionally known by the first words of their Latin translation.

  • Magnificat. And Mary said, “My soul magnifies the Lord, and my spirit rejoices in God my Savior” (Luke 1:46–55)
  • Benedictus. Zechariah was filled with the Holy Spirit, and prophesied, saying, “Blessed be the Lord God of Israel” (Luke 1:67–79)
  • Gloria in Excelsis Deo. And suddenly there was with the angel a multitude of the heavenly host praising God and saying, “Glory to God in the highest, and on earth peace among men with whom he is pleased!” (Luke 2:13, 14)
  • Nunc Dimittis. He (Simeon) took him up in his arms and blessed God and said, “Lord, now lettest thou thy servant depart in peace, according to thy word; for mine eyes have seen thy salvation” (Luke 2:28–32).

The Song of Mary, the Song of Zechariah (father of John the Baptist), the Song of the Angels, and the Song of Simeon have been used more in historic Christian worship than any other biblical passages, outside of the Psalms.

After the resurrection and ascension of Christ, the disciples (later including the apostle Paul) continued to meet in the synagogues on the Sabbath as was their custom, giving witness to their faith in the risen Christ as the Jewish Messiah. At the same time, they met on the first day of the week to “remember their Lord” in the celebration of the Eucharist, followed by an agape meal, or love feast. Eventually, it became apparent that their presence would no longer be tolerated in the synagogues, and they began to meet for their own “Christian synagogue” service. In the final evolution of full Christian worship, the synagogue and the Upper Room experiences were united in one two-part service.

Regarding music, it seems clear that first-century Christians used three different types of songs: “psalms and hymns and spiritual songs.” It is a little short of amazing that Paul delineates three different genres of music for worship, mentioning them in two different letters to young churches. We must believe that they were contrasting—in origin, in subject matter, and possibly even in performance practice. This is substantiated by Egon Wellesz, one of the leading authorities on the music of this period.

St. Paul must certainly have been referring to a practice well known to the people to whom he wrote. We may therefore assume that three different types of chant were, in fact, used among them, and we can form an idea of their characteristics from the evidence of Jewish music and later recorded Christian chant:

  • Psalmody: the cantillation of the Jewish psalms and of the canticles and doxologies modeled on them.
  • Hymns: songs of praise of a syllabic type, i.e., each syllable is sung to one or two notes of the melody.
  • Spiritual songs: Alleluia and other chants of a jubilant or ecstatic character, richly ornamented (Egon Wellesz, “Early Christian Music,” in The New Oxford History of Music, vol. 2, p. 2).

Whether or not Wellesz is correct about the musical character of these forms, the nature and source of the texts seem well established. “Psalms” no doubt included all the psalms and canticles that were common to Jewish worship, in the tabernacle, the temple, and the synagogue. “Hymns” were probably new expressions in song, presenting the doctrine and theology of the church. There are a number of these hymns in the letters of Paul, written in the patterns of classical Greek poetry, and it is reasonable to assume that they were quickly adopted as “Christ songs” by the churches which read the epistles.

The koine Greek phrase for “spiritual songs” is odaes pneumaticaes—“pneumatic odes,” or possibly “odes upon the breath” since the same word was used for “breath” and “spirit.” Some have conjectured that these were melismatic songs based on acclamations such as “alleluia”, “glory”, or “holy.”

Wellesz connects it with the common practice of most Near Eastern cultures at the beginning of the Christian era. Furthermore, he suggests that it was perpetuated in later Christian worship in the jubilus of the mass, the (originally improvised) melismatic prolongation of the final syllable of the “Alleluia.” As St. Augustine said of this type of Jewish-Christian song: It is a certain sound of joy without words … it is the expression of a mind poured forth in joy. A man rejoicing in his own exultation, after certain words which cannot be understood, bursteth forth into sounds of exultation without words so that it seemeth that he … filled with excessive joy cannot express in words the subject of that joy. (Nicene & Post-Nicene Fathers, ser. 1, vol. 8, 488)

We presume that early Christian worship was strictly vocal, since instrumental music was primarily associated with Hebrew temple sacrifices, was probably not used in synagogues, and was abandoned even by the Jews when the temple was destroyed in a.d. 70.

The Functions of Music in the Early Church

The New Testament emphasizes both the human and the divine sources of song. Music flows from human experience, and it no doubt also affects that experience. James seems to suggest that it is most logically associated with the emotion of Christian joy. “Is anyone among you suffering? Let him pray. Is any cheerful? Let him sing praise” (James 5:13). In Paul’s first letter to Christians at Corinth, one verse (when read alone) seems to be saying that all musical worship should be equally emotional and cerebral. “I will sing with the spirit and I will sing with the mind also” (1 Cor. 14:15). However, the scriptural context reveals that he is talking about two different experiences. Relating the verse to Ephesians 5:19 and Colossians 3:16, it may be Paul is suggesting that he would sing “hymns” with the mind and “spiritual songs” with the spirit. In any experience of worship, our minds are engaged, no doubt, at different levels at different times; on occasion, perhaps most persons hear music more emotionally than rationally.

All of these functions of music in the early Christian community may be seen to support the expression of the Christian faith. One passage in the Authorized Version, “teaching and admonishing one another in psalms” (Col. 3:16), seems to be a clear biblical injunction to use song to learn doctrine and to teach Christian ethics.

The early church sang of the divinity and the work of Christ to express their new faith; at the same time, they were teaching those doctrines to the catechumens, those who were still being trained in the faith but had not yet been baptized.

Finally, and perhaps primarily, we should see Christian song as an offering to God in worship. Paul mentions this specifically in Hebrews 13:15: “Through him [Jesus] then let us continually offer up a sacrifice of praise to God, that is, the fruit of lips that acknowledge his name.” This is also emphasized in the two verses in which Paul says so much about musical worship: “singing and making melody to the Lord with all your heart” (Eph. 5:19), and “sing … with thankfulness in your hearts to God” (Col. 3:16).

Worship Elements Mentioned in the New Testament

The following is a brief outline of early Christian worship taken from various excerpts of Scripture:

Liturgy of the Word

  • Singing (of various types)—“psalms and hymns and spiritual songs” (Col. 3:16), probably without instrumental accompaniment
  • Prayers—“And they devoted themselves to … prayers” (Acts 2:42).
  • Congregational amen—“how can any one in the position of an outsider say “amen” to your thanksgiving when he does not know what you are saying?” (1 Cor. 14:16).
  • Scripture readings (especially the prophets, and including letters from Paul)—“Till I come, attend to the public reading of Scripture” (1 Tim . 4:13).
  • Homily (exposition)—“On the first day of the week, when we were gathered together to break bread, Paul talked with them … and he prolonged his speech until midnight” (Acts 20:7).
  • Physical action—“I desire then that in every place the men should pray, lifting holy hands” (1 Tim. 2:8).
  • Intercession (following the example of Christ in the Upper Room)—“When Jesus had spoken these words, he lifted up his eyes to heaven and said … I am not praying for the world but for those whom thou hast given me” (John 17:1, 9).
  • Collection (alms)—“Now concerning the contribution for the saints … On the first day of every week, each of you is to put something aside and store it up, as he may prosper, so that contributions need not be made when I come” (1 Cor. 16:1, 2).

Liturgy of the Body and the Blood

  • The kiss of peace (evidently a Jewish practice, continued by early Christians)—“So if you are offering your gift at the altar, and there remember that your brother has something against you, leave your gift there before the altar and go; first be reconciled to your brother” (Matt. 5:23, 24). The phrase “kiss of love” or “holy kiss” is found in Rom. 16:16, 1 Cor. 16:20, 1 Thess. 5:26, and 1 Pet. 5:14.
  • A confession of faith—“take hold of the eternal life to which you were called when you made the good confession in the presence of many witnesses” (1 Tim. 6:12).
  • Thanksgiving (Eucharist)—“And he took bread, and when he had given thanks” (Luke 22:19).
  • Remembrance (anamnesis, Gr.)—“Do this, as often as you drink it, in remembrance of me” (1 Cor. 11:25).
  • The anticipation of Christ’s return—“For as often as you eat this bread and drink the cup, you proclaim the Lord’s death until he comes” (1 Cor. 11:26).

Summary

One of the Bible’s most significant contributions to church music is the broad spectrum of texts it has left for Christian worship. The psalms and canticles of the Old Testament and of Luke 1 and 2 have been the basis for liturgical expression for almost two thousand years. In addition, the New Testament hymns and many other passages in both Testaments have been used verbatim in anthems, motets, and cantatas, and have provided the inspiration for many of our extrabiblical hymns and Christian songs. The Scriptures will always be our best source for worship material; that which is not directly quoted or paraphrased is rightly expected to conform to Bible truth.

By inference, the scriptures also suggest proper functions for today’s church music. Both Old and New Testaments reveal a transcendent God who is the object of our adoration. From the New Testament, we understand more of the believer’s personal relationship with God through Christ, and also of his fellowship with other saints.

Music in the Worship of the Old Testament

by

Music was an important element of both temple and synagogue worship. Undoubtedly this music and its forms influenced the form and use of music in the early Christian church. Both Jews and Christians revere a transcendent God and both give honor to Scripture. For these reasons and others, Jewish synagogue worship and modern Christian services are similar in content and spirit.

Through almost three thousand years of Hebrew/Christian history, music has been inseparable from worship, and the Bible contains much of our early heritage of worship song. The Psalms come from many periods of the ancient Jewish culture, and they were augmented by canticles that date back to Israel’s deliverance from Egypt.

Synagogue worship probably developed among the Jews as a result of their dispersion in the fifth century before Christ. With its emphasis on the reading and explanation of Scripture, prayers, and the singing of psalms and canticles, it was very significant in the framing of early Christian worship. Music in the synagogue was led by cantors—soloists who may have been trained in the temple Levitical ministry—and included some congregational participation.

The New Testament era began with the canticles surrounding Christ’s birth, recorded in the Gospel of St. Luke. The new faith and its expression were supported with several types of music—“psalms and hymns and spiritual songs” according to the apostle Paul. The epistles do contain some general principles: the Scriptures were to be read and the gospel was to be preached, certain types of prayer were encouraged, and believers were expected to celebrate the Eucharist or Communion.

The Early Traditions

The first biblical reference to musical experience is a narrative of musical thanksgiving, led by Moses and his sister Miriam after the Israelites had been delivered from the Egyptians: Then Moses and the Israelites sang this song to the Lord: “I will sing to the Lord, for he is highly exalted. The horse and its rider he has hurled into the sea.… ” Then Miriam the prophetess, Aaron’s sister, took a tambourine in her hand, and all the women followed her, with tambourines and dancing. Miriam sang to them: “Sing to the Lord, for he is highly exalted. The horse and its rider he has hurled into the sea” (Exod. 15:1, 20–21).

This performance was both instrumental and vocal, involved both men and women, and was accompanied by expressive movement. The song was a prototype of the expressions of praise to God that are found throughout the Old Testament, particularly in the Psalms.

Erik Routley has reminded us that there are two musical worship traditions in the Old Testament: one was spontaneous and ecstatic, the other formal and professional (Church Music and the Christian Faith, p. 6). The first of these is mentioned as part of Saul’s preparation to become king of Israel; the prophet Samuel was giving the instructions:

After that you will go to Gibeah of God … as you approach the town, you will meet a procession of prophets coming down from the high place with lyres, tambourines, flutes, and harps being played before them, and they will be prophesying. The Spirit of the Lord will come upon you in power, and you will prophesy with them, and you will be changed into a different person. (1 Sam. 10:5–6)

In this early period, music was apparently expected to assist the worshiper’s experience of God. The same idea is expressed in connection with an occasion when the Prophet Elisha foretold God’s judgment: “But now bring me a harpist.” While the harpist was playing the hand of the Lord came upon Elijah and said, “This is what the Lord says” (2 Kings 3:15–16). The expectation that music can affect human behavior (ethos) was common in Scripture times and has persisted through history. The Bible also records an early use of music in therapy: whenever the spirit from God came upon Saul, David would take his harp and play. Then relief would come to Saul; he would feel better, and the evil spirit would leave him (see 1 Samuel 16:23).

Music in the Temple

The second Old Testament musical tradition—the music for the temple—was formal and professional, and was initiated by Israel’s shepherd-king who was himself a musician and hymn composer: David told the leaders of the Levites to appoint their brothers as singers to sing joyful songs, accompanied by musical instruments: lyres, harps, and cymbals (1 Chron. 15:16).

As priest-musicians, these performers gave full time to their musical service. They were chosen on the basis of their talent (1 Chron. 15:22) and were thoroughly trained, serving five years of apprenticeship before being admitted to the regular chorus. The Jewish choir was organized under at least three composer-conductors—Asaph, Herman, and Jeduthun (2 Chron. 5:12). The singing was accompanied by many kinds of instruments—lyres, pipes, harps, trumpets, and cymbals—and was also associated with dance (Ps. 150:4).

The Musical Sound

In ancient Hebrew worship, the words of Scripture were never spoken without melody; to do so was considered to be inappropriate. They were always sung in a fervent cantillation. (“Shout to God with loud songs of joy!” Ps. 47:1). They were accompanied by instruments in what is believed to have been a sort of heterophony, in which the instruments provided embellishments of the vocal melody. As in most early cultures, Hebrew instruments were of three basic types:

  • String—kinnor (“lyre,” related to the Greeks’ kithara) and nebhel (“harp” with up to ten strings, sometimes called “psaltery” in kjv).
  • Wind—shophar (a ram’s horn), halil (a double-reed, like the oboe), hazozerah (a metal trumpet), and ugabh (a vertical flute, used mainly in secular music).
  • Percussion—toph (tambourine, or hand drum), zelzelim (cymbals), and mena an im (a sistrum). (See The New Oxford History of Music, vol. 1, 295–296, and footnoted references.)

In Old Testament worship antiphonal singing was probably the norm, as evidenced by the fact that many of the Psalms are couched in a responsorial pattern. In modern liturgical church practice, each verse is divided into a versicle and response.

V: God be merciful unto us, and bless us;
R: And cause his face to shine upon us. (Psalm 67:1, KJV)
V: O give thanks unto the Lord; for he is good:
R: For his mercy endureth for ever. (Psalms 136:1, KJV)

It is natural for us to try to guess what this ancient music sounded like. Some Jewish worship musicians insist that they still retain much of the original character of their chants, even though they may have been originally preserved only by oral tradition. Recent musicologists have reasoned that the early Christian chant styles were patterned after Jewish antecedents. It is probable that certain traditions in the Byzantine chant of the Greek, Antiochian, and Palestinian churches carry some remnants of the original sounds. Eric Werner says that all the foremost authorities (Curt Sachs, A. Z. Idelsohn, and R. Lachman) agree that the chants were based on four-note (tetra-chordal) melodic motives, and that “the archetype of chant was similar to ancient Gregorian tunes, which means that they were based upon small melodic patterns of a rather narrow range, usually not exceeding a fourth or a fifth” (Eric Werner, Jewish Music, 623).

Within the last few years, French musician and scholar Suzanne Haik Vantoura released the results of her four years of research in the book La Musique de la Bible Revelee (The Music of the Bible Revealed). She is convinced that mysterious signs scattered throughout the Hebrew scriptures, both above and below the letters, are actually a system of musical notation, and not punctuation or accent marks as has been traditionally believed. Furthermore, she has reduced these signs to a system of notation, and has transcribed and recorded the melodies for approximately three hours of Bible music.

Werner also describes the musical performance in the Jews’ Second Temple: The morning sacrifice was accompanied by three trumpet blasts; the cymbals clashed, signaling the beginning of the Levitical chant. At the end of each portion the trumpets joined the singing to indicate to the congregation the moment when they were to prostrate themselves. Every song was probably divided into three portions. (Werner, 623)

Most scholars agree that music in the temple was almost completely professional and sacerdotal (performed by priests). The Jewish people participated principally as listeners. It is reasoned that they may have frequently joined in the traditional responses “amen” and “alleluia,” and possibly in an antiphonal refrain like “for his steadfast loves endures for ever” (Ps. 136).

The book of Psalms has been called the “hymnal of Israel.” The Psalms were sung in regular sequences following the morning and evening sacrifice on specified days of the week and were accompanied by instruments that occasionally indulged in an interlude indicated by the word Selah.

Psalms offered specific types of worship expression:

  • Praise: For it is good to sing praises to our God; for he is gracious, and a song of praise is seemly (Ps. 147:1).
  • Petition: Give ear, O Shepherd of Israel, thou who leadest Joseph like a flock! Thou who art enthroned upon the cherubim, shine forth before Ephraim and Benjamin and Manasseh! Stir up thy might, and come to save us! (Ps. 80:1–2).
  • Thanksgiving: I love the Lord, because he has heard my voice and my supplications (Ps. 116:1).

There were special psalms associated with festival occasions—royal psalms to honor the kings (e.g., 21, 45, 101), processional psalms (e.g., 24, 95, 100), and penitential psalms for periods of national repentance (e.g., 130). The “Egyptian Kings” Psalms (113–118) were very significant in the observance of the Passover and other times of national penitence.

There were at least four different modes of presentation:

1. A simple psalm (e.g., 46:1), sung by one person alone.
2. A responsive psalm (e.g., 67:1, 2), in which a choir answers the solo chant.
3. An antiphonal psalm, with several lines beginning or ending with the same phrase (e.g., 103:1, 2, 20–22), sung by two choirs in alternation.
4. A litany (e.g., 80:2, 3, 6, 7, 18, 19), which included a repeated refrain (Werner, 621–623).

Eric Werner also gives four design types: (Eric Werner, The Sacred Bridge, p. 133.)

1. The plain, direct psalm—no strophic arrangement.
2. The acrostic psalm—phrases in alphabetical sequence (e.g., 119).
3. The refrain psalm—each verse ending with the same refrain (e.g., 136).
4. The Hallelujah psalm—begins or closes with the ecstatic exclamation (e.g., 145–150).

In addition to the Psalms, a number of important biblical canticles were used regularly by the Hebrews in worship, and have been carried over into many Christian traditions as well. These are the best known:

1. Moses’ (and Miriam’s) song of victory over Pharaoh (Exod. 15).
2. Moses’ prayer before his death (Deut. 32).
3. The song of Hannah (1 Sam. 2), a prototype of Mary’s song in Luke 1:46–55.
4. The song of Habakkuk (Hab. 2).
5. Isaiah’s song (Isa. 26).
6. The prayer of Jonah in the fish’s belly (Jonah 2).
7. The prayer of Azariah—Benedictus es, Domine (Daniel 3, Douay version; Vulg., 3:26–49, Apocrypha).
8. The song of the three Hebrew children in the furnace—Benedicite omnia opera Domini (Dan. 3, Douay version; Vulg. 3:52–90, Apocrypha).

Worship and the Calendar

Historic Jewish worship acknowledged that God is the Lord of times and seasons in the ebb and flow of life. The sacrifices were observed in both the morning and evening every day in the tabernacle and later, in the temple. In addition, the Jewish family regularly offered prayers at home at stated hours and at mealtime. The Sabbath was a time for more exacting expressions of worship; it commemorated God’s rest from the acts of creation and was observed in obedience to his command. Finally, there were times of intensely celebrative or penitential worship: Passover, to commemorate their deliverance from Egypt; the Day of Atonement, at the beginning of the New Year; Pentecost, associated with the giving of the Law, at the corn harvest; and the Feast of Booths (tabernacles) as “harvest home.” As we will see later, most of these practices based on the calendar have been fulfilled in Christ and transformed into Christian worship.

Worship Music and the Experience of God

The Hebrews shared richly symbolic worship that appealed strongly to the senses. The music which accompanied the sacrifices was a conspicuous part of the sensory experience. Musical sound revealed the presence of God, as evidenced in the accounts of the ecstatic moments of Saul and Elisha, and also in the requirement that song-chant would always be the vehicle of the holy scriptures.

One occasion when God was pleased to reveal his presence through musical performance was the dedication of Solomon’s temple: Now when the priests came out of the holy place (for all the priests who were present had sacrificed themselves, without regard to their divisions; and all the Levitical singers, Asaph, Heman, and Jeduthun, their sons and kinsmen, arrayed in fine linen, with cymbals, harps, and lyres, stood east of the altar with a hundred and twenty priests who were trumpeters; and it was the duty of the trumpeters and singers to make themselves heard in unison in praise and thanksgiving to the Lord), and when the song was raised, with trumpets and cymbals and other musical instruments, in praise to the Lord, “For he is good, for his steadfast love endures for ever,” the house, the house of the Lord, was filled with a cloud, so that the priests could not stand to minister because of the cloud; for the glory of the Lord filled the house of God (2 Chron. 5:11–14).

Worship in the Synagogue and the Jewish Home

The tradition of synagogue worship is of uncertain origin. Some scholars surmise that Jewish laypersons gathered in remote parts of Palestine at the time of the regular sacrifices in the temple at Jerusalem; others guess that the practice may have begun among Jews who were captives in other lands. Because the traditional sacrifices could only be offered in the temple, “sacrifices of praise and prayer” were substituted for offerings of animals and grain. Synagogue worship was in full flower during the lifetime of Jesus and the early days of the Christian church. It is not surprising then that early Jewish Christians modeled their worship partly on what they had experienced in the synagogue.

Synagogue worship was essentially a Service of the Word; it centered on the ceremonial reading of the Scripture, especially the Torah and the prophets, followed by an explanation of their meaning in a homily. It should be understood that the synagogue service was essentially congregational; though the position of the rabbi (teacher) developed in its context, it was essentially a meeting of laypersons, who probably participated in the prayers, and also in the free discussion which might follow the Scripture lection (see Acts 17:17).

These then are the component parts of synagogue worship, most of which have come down to us from the earliest traditions.

  • Scripture Readings (Torah; the Prophets)
  • Homily, followed by discussion
  • Psalmody
  • The Kedusha, “Holy, Holy, Holy,” (Isa. 6:3)
  • Prayers (The Yotzer and the Ahabah, emphasizing the creative acts of God and his love for his people, ending with the Shema—“Hear, O Israel; the Lord our God is one Lord,” etc., a declaration of faith and a glad benediction, from Deut. 6:4–9, 11:13–21; Numbers 15:37–41)
  • The Eighteen Benedictions (expressions of praise, petitions for material and spiritual blessings, and intercessions for many people, concluded with a united “amen”)

It is not known when music entered synagogue worship, but it is surmised that certain Levitical singers may have continued to practice their art in the lay-oriented gathering. We do know that only one or two solo singers (cantors) were involved in a service. They chanted the Scripture readings, the Psalms, the post-biblical prayers (Benedictions), and, according to some scholars, certain “melismatic” songs which may have been similar both to the ecstatic music of earlier days and to the “spiritual songs” mentioned in Colossians 3:16 and Ephesians 5:19. The musical style must have been related to that of temple worship, though presumably no instruments were involved since they were associated only with animal sacrifices. It is also surmised that, in the congregational character of this gathering, all the worshipers joined in the psalms which they knew, and very frequently in a repeated refrain, a “Hallelujah” and an “amen.”

We make this latter assumption partly on the witness of Mark (14:26): “And when they had sung a hymn, they went out to the Mount of Olives.” On the occasion of the last supper of our Lord with his disciples, the hymn sung was possibly one of the “Egyptian Kings” Psalms (113–118), traditionally used in the observance of Passover. In the custom of a typical Jewish home, Jesus pronounced a blessing over a loaf of bread, broke it, and gave portions to all those around the table. Similarly, at the end of the meal, a Jewish host would take a cup of wine mixed with water, give thanks, and then pass it around for all to drink. So it was that at the Upper Room supper, Jesus transformed this traditional act of thanksgiving and made it new, instituting the Lord’s Supper, or Eucharist, which many Christians believe to be the most significant single act of worship. The full order of historic Christian liturgy was developed by uniting the pattern of Jewish synagogue worship with the Eucharist.

Modern Jewish services continue in synagogues, without significant change in the basic elements. (In the orthodox Jewish tradition, the singing is still largely cantoral and unaccompanied.) The feasts are still observed as in ancient times, with one significant addition: Hanukkah, “the festival of lights,” is celebrated in December to commemorate the rededication of the temple in the second-century b.c., following the victory over the Syrians under Antiochus IV. In connection with the cycle of annual worship centering in the festivals, a regular schedule of Scripture readings (the lectionary), psalms, and prayers was developed to support the emphasis of each season. (The close relationship between Jewish and early Christian activity in the developing of “propers” for daily worship is related in Werner, 50–101.)

Music in the Multicultural Church

by

Many congregations today consist of people from a wide range of ethnic and cultural backgrounds. Music in worship is one means by which this rich cultural diversity can be expressed. This article challenges congregations to sing the music of many cultures in worship.

The challenges that face many of our urban and large suburban churches are complex and multifaceted. Some congregations find their membership increasingly drawing from racially and ethnically diverse groups of individuals, often creating upheaval and a sense of division between the new and old members of the parish. Other congregations seem to be on the verge of extinction because they fail to attract members from the changing neighborhoods that envelop their parish. Both types of congregations face challenges that will require patience, love, and the will to be servants of the Lord.

Music has long been called the universal language, transcending the barriers of different races and ethnic tongues. Thus as we seek ways to find common ground in the rapidly changing congregations of our cities and suburbs, music seems a logical building block for developing such a sense of unity.

However, before exploring ways in which music can be a force for reconciliation and renewal in our changing congregations, what do we mean by a multicultural church? In an article discussing the implications of the Christian Reformed Church becoming a truly multicultural denomination, author Gary Teja writes:

In a multicultural church, we don’t just start churches for other ethnic groups or share our facilities when we’re not using them. We go further—we make a genuine attempt to be one body of people of many different languages, customs, and life experiences, worshiping together, praying together, singing together in the same service at the same time.

A multicultural church encourages all of its members to appreciate the ethnic heritage that each person brings with him or herself. Becoming multicultural doesn’t mean rejecting your heritage; it means learning to appreciate the cultural backgrounds of others! (The Banner, 125:34 [October 1, 1990])

I strongly concur with this wonderful model of a multicultural church as described by Mr. Teja. However, I believe that a large majority of our urban and suburban churches can be characterized at best as multiracial congregations. Typically these congregations are dominated in membership by an aging Caucasian population with smaller populations of African-Americans, Hispanics/Latinos, or Asian-Americans. These racial/ethnic minorities are tolerated to the degree that they assimilate into the traditional style of worship that has been the norm for that particular congregation. Consequently, these churches deceive themselves when they believe they are multicultural simply by the mere presence of one or more ethnic groups. Another erroneous concept of multicultural ministry occurs when “outreach” programs are developed by a congregation for a neighboring area of “disadvantaged” people, without the people of the program ever really being invited into full fellowship with the “mainstream” congregation. Only when these folks are made equal partners in the faith mission of that congregation may we begin to call that congregation multicultural.

On the positive side, there are many congregations who may quite properly call themselves multicultural. There is also an increasing number of churches that are in the process of evolving from multiracial/multiethnic congregations into truly multicultural bodies of believers. I strongly hold that the music ministry of the church may be a powerful means of establishing a strong foundation for building a multicultural congregation. The new United Methodist, Presbyterian, Christian Reformed, and Brethren hymnals, as well as many other recently published collections, provide churches with new and wonderful treasuries of ethnic hymnody. We may begin a process of creating a multicultural church by singing of our shared faith in these new songs of God’s people. Worship committees, ministers of music, and clergy and educational leaders can explore ways to incorporate these new songs of God’s mighty acts in our lives through congregational hymns, liturgical music for choirs, and music for church school.

Another idea to consider is the need for urban churches to share worship experiences with congregations who may be able to offer some innovative perspectives to expand their style of worship. These exchanges should include worship in both parish sites and the sharing of worship traditions. These services should seek to affirm and enrich the lives of all those who attend.

The increasing demand for after-school childcare affords the imaginative urban congregation the opportunity to develop a creative after-school music ministry. Weekday afternoon choir schools that include children of the congregation as well as neighborhood youngsters are a marvelous means of evangelism and go far in establishing an atmosphere for teaching musical literacy, healthy singing technique, improvisation, and movement while also teaching the fundamentals of our Christian faith. Also, by initially involving the children, parents and other adults are often drawn back into a worshiping lifestyle.

Let us take the leap of faith that will enable us to sing out in voices of hope, love, and peace:
In Christ, there is no east or west
He breaks all barriers down;
By Christ redeemed, by Christ possessed,
In Christ, we live as one.

Keys to Effective Worship Leadership

by

Effective worship leading requires much more than just nailing down its technical aspects. As important as or more important than technical skills are the worship leader’s relationship with God and with others, his or her spiritual walk, knowledge of Scripture, attitudes, lifestyle, self-discipline, and understanding of music.

Personal Qualities of the Effective Worship Leader

Maintaining a Strong Relationship with the Lord. The only way to be effective long-term as a worship leader is to maintain a close relationship with the Lord. If a person is not in constant pursuit of a close relationship with the Lord, continually allowing God to fill him or her, then that person will have nothing to give. There are some practical things that can help a worship leader through a few services, but beyond that, they will be empty. Worship leaders need to be daily renewed and refreshed by Jesus, the Living Water. If they forgo this ongoing relationship with Jesus, they have really missed the fullness of God’s calling on their life.

Anyone aspiring to be an effective worship leader must have as his or her main anchor point an ongoing relationship with the object of their worship, the almighty God. Other ideas and concepts will be discussed below to help aspiring worship leaders on their path to becoming the most effective leaders of worship they can be. However, maintaining a relationship with the Lord is foundational to it all.

Maintaining a Humble, Servant Attitude. Although musical abilities are important for a worship leader, ultimately the Lord does not need human talents—he wants hearts. All the abilities that people can muster are of very little eternal consequence. God is looking for a broken and contrite heart, one that is not self-centered but focused on him.

Jesus portrayed this humble, servant attitude. He told people that he did not come to be served but to serve. He taught that his followers should do the same. “If anyone wants to be first, he must be the very last, and the servant of all” (Mark 9:35).

In practical terms, worship leaders can be servants in many ways. Serving the Lord can be done by worshiping and obeying him in all that they do and say. Serving one’s church can be done by constantly learning and growing in the things that will enable a person to better lead others in worship. Worship leaders can serve their pastor by honoring him or her in words and actions. It is a daily decision to be, like Jesus, humble servants.

Keeping a Levitical Heart. The main purpose of the Levites in the Old Testament was to be given wholly unto God (Num. 8:14–16). Anything else in their lives was of secondary importance. All that they did and said was consecrated unto God. Nothing outweighed their belonging to him.

This attitude of being given completely to the Lord also needs to permeate the life of every worship leader today. What God required of the Levites is the same as what he requires of those involved in the ministry of praise and worship today. He is not just looking for talented musicians. He wants hearts. The main purpose in the life of a worship leader is simply to be to his glory (Eph. 1:12). A leader of worship should model for others this idea of existing for God’s glory.

Living a Life of Worship. A congregation can never fully enter into worship as God desires until that congregation learns to live out a lifestyle of praise and worship. The worship of the sanctuary is meaningless unless it is preceded by six days of worship as a way of life. The Sunday morning experience of worship should be the by-product of an entire week of worship unto the Lord.

This principle is obvious throughout Scripture. “I will extol the Lord at all times” (Ps. 34:1, emphasis mine). “From the rising of the sun to the place where it sets, the name of the Lord is to be praised” (Ps. 113:3). “Through Jesus, therefore, let us continually offer to God a sacrifice of praise—the fruit of lips that confess his name” (Heb. 13:15).

Christians must realize that worshiping God really is their reason for existing. “But you are a chosen people, a royal priesthood, a holy nation, a people belonging to God, that you may declare the praises of him who called you out of darkness into his wonderful light” (1 Peter 2:9). Effective worship leaders must teach this concept to their congregations, but more importantly, they must exemplify it.

Being Thankful to God. Christians should be models of thankfulness. They should cultivate thankfulness in their everyday interactions with people. More importantly, however, they need to cultivate continual thankfulness toward God. This is especially true for those who lead in worship.

God has forgiven and extended friendship to those who accept Jesus. Thankfulness should be a natural outgrowth of that relationship. Even beyond forgiveness and his constant companionship, God called us his children (1 John 3:1). With a realization of such great love, Christians should have a heart that overflows with thanksgiving. The main thing one must do is simply make thanking God a habit. It is a choice to daily make giving thanks to the Lord a regular part of life.

It is necessary for people to mentally stop themselves from complaining or even being complacent. Instead, it is necessary to give thanks to God. A heart that is daily full of thanksgiving to the Lord will be much more effective in leading corporate worship.

Walking in God’s Grace. Probably the most common cause of a feeling of inadequacy within worship leaders is the realization of their own failures. A common attitude is that, because of their sins and failings, they cannot stand before God and lead his people in worship. Of all the problems within the church today, the most prevalent is a failure to comprehend or fully believe the power of the gospel of Jesus.

There is no question that everyone has failed the Lord and will continue to do so. For this reason, God has made a way to find forgiveness and acceptance through Jesus’ atoning work on Calvary. As people confess their sins with a desire to turn from them, the blood of Jesus truly does wash away those sins and the accompanying feeling of guilt. Grasping this seemingly simple concept would cause major changes within lives and ministries. When worship leaders understand that God’s mercy can cover any failure, it will be easier for them to continually believe he can use them.

It is not a question of living a perfectly sinless life. If people had the power to do that, then Jesus died for no reason. The real issue is how sin is dealt with after it is committed. God’s way is for people to turn to him in repentance and find grace and forgiveness.

Maintaining Self-Discipline. Self-discipline is not necessarily fun, but it is essential. Worship leaders must be willing to discipline themselves in many areas—prayer, the study of God’s Word, musical practice time, preparation for leading, and others. This is often one of the most difficult things about being a worship leader. It requires less effort to procrastinate, be lazy, and be disorganized than it does to be organized, diligent, and disciplined.

Effective worship leaders will pray regularly for those whom they lead and minister to. They should pray regularly for their own sensitivity to the Holy Spirit. They must work diligently at music understanding, music performance, and music theory.

All of these areas require a truly committed attitude to be really effective. If worship leaders allow flesh, their mood, or even the attitudes of others to dictate the discipline in these areas, they will not be the leaders God has enabled them to be. Self-discipline is an absolutely essential element for an effective worship leader.

Knowing and Understanding God’s Word. A major responsibility of any worship leader is to be a firm, solid Christian, who knows God through his Word. Putting all gifts, talents, and callings aside for a moment, this very basic foundation must be understood. God’s Word is the only reliable source of truth. It must be the final authority in all one believes. The Bible has within it all that is necessary to know about walking through life. It teaches of God’s unsurpassable love and grace. It declares the necessity of prayer and seeking God continually. It urges diligence in repentance and walking in holiness. Without a strong knowledge of and a firm commitment to the truths that God has revealed in the Bible, no gift, no talent, no calling will ever bring about God’s intended purposes.

Musical talents are an important commodity for a worship leader. But even more necessary is a thorough knowledge of God’s Word. Knowing God through his Word is an essential element in being an effective leader of worship. Knowing the Lord through his Word needs to be an extremely high priority for all believers, but especially for worship leaders.

Accepting the Role of Being an Example. People have a need to be taught not only by words but also by actions. The “don’t do as I do, do as I say” mentality must be removed from the thinking of the church. Worship leaders cannot just talk about worship being a way of life. People must see them live it out.

In his letter to the church at Philippi, the apostle Paul states, “Join with others in following my example, brothers, and take note of those who live according to the pattern we gave you” (Phil. 3:17). Effective worship leaders must be willing to accept this role also. Regardless of how worship leaders see their own position, others will look to them as examples. In every situation, they will be observed, and, therefore, their lives must be exemplary. They must not shun this responsibility but accept it.

Cultivating the Gifts That God Has Given You. God has given each one of his people certain gifts to use for his glory. “Now to each one the manifestation of the Spirit is given for the common good. All these are the work of one and the same Spirit, and he gives them to each one, just as he determines” (1 Cor. 12:7, 11).

The Lord gives gifts and then expects the recipients of the gifts to learn to use them to their fullest potential. Certainly, he will lead and guide in their usage, but people must learn to work with the gifts to excel at them. It is very rare, even in Scripture, for the Lord to sovereignly give a “full-blown” gift to someone.

In practical terms, worship leaders need to use and work at the gifts God has bestowed on them for their position. Musical gifts must be cultivated. Songwriting skills should be honed. Public speaking skills should be enhanced. All of these things and more are necessary for one to become effective as a worship leader.

Keeping Priorities Straight. One of the most difficult things for people to do in any area of life is to decide what is the highest priority for the moment. Generally, this is because of the lack of defined priorities and goals within the life of an individual. When one has clearly established overall priorities, moment-by-moment decisions become easier.

Because of the potential busyness in the life of a worship leader, setting overall priorities is especially necessary. Therefore, it is essential for worship leaders to determine, understand, and implement biblical priorities in their lives and ministries. With these in place, they will find themselves directed more by God and his will than by the pleas of countless people and needs for time. Seeking the Lord for his priorities is an absolute for an effective leader of worship.

Using and/or Cultivating Administrative Abilities. The worship leader or minister of music is not ordinarily primarily an administrator. Musical leaders usually are most often enlisted for their artistic, musical, and creative abilities, not for their organizational prowess. In fact, they often have a disdain for administrative details. The worship leader with this type of thinking must change his or her attitude.

It is possible to develop organizational skills even if they do not come naturally. In endeavoring to do this, a person could take a class on administration at a local junior college. He or she could go to an organizational seminar. Administratively gifted friends can be a good resource for advice about a specific situation. Whatever course of action is followed, a worship leader cannot be truly effective without acquiring some degree of proficiency in administration and organization.

Caring for the Congregation. Since the first priority of a worship leader is to minister to the Lord, ministry to people sometimes seems difficult to grasp. However, if a worship leader sees only worshiping the Lord as valuable, he has missed half of his or her job title: Worship leader. Worship leaders have a responsibility to lead people in worship.

It is necessary for the effective worship leader to learn to not just “do ministry,” but to minister to people. It is easy for leaders to miss this seemingly simple idea in much of what is referred to as “ministry.” Caring for the congregation refers to seeing the needs of those being ministered to as more important than the needs of the minister(s). The Bible tells us to “do nothing out of selfish ambition or vain conceit, but in humility consider others better than yourselves” (Phil. 2:3). Caring for the congregation also means listening carefully to people’s positive and negative comments. All of these are prerequisites to being effective as a worship leader.

Building an Effective Worship Team

Choosing Members of Your Worship Team. In adding members to a worship team, the first step is to pray. It is necessary to pray that the Lord will either raise up the right people within a congregation or send the right people to the congregation. Additionally, prayer for wisdom and sensitivity to the Holy Spirit is essential. The worship leader, who will make the final decision about who is to be a part of the team, should be careful to listen to the Holy Spirit.

It is also good to evaluate certain qualities in the lives of prospective candidates. Spiritual maturity should be the first quality to look for. Additionally, commitment to both the Lord and the church is necessary. A degree of musical proficiency is essential, too.

Finally, communication with prospective team members is imperative. Consistent, thorough communication, both written and verbal, addressing what is expected of each worship team member, needs to be implemented from the beginning.

Developing Unity. A worship team needs to be a group of friends who minister together. Friendship is a needed but neglected aspect of many worship teams. It is obvious from both Scripture and experience that negative attitudes within a congregation can be a hindrance to worship. The Bible teaches that God is building his people into a temple to offer up spiritual sacrifices, or worship (1 Peter 2:5). If the building is not built with the right relationships, then the spiritual sacrifices offered in that temple will be lacking. This effect is magnified if poor relationships exist between the members of the worship team—a microcosm of the congregation as a whole. The main responsibility of the team is the area of worship. If there is constant discord within the team, then the praise and worship will suffer greatly. Great unity, however, can cause a positive overflow within the congregation.

Because of this, it is necessary to endeavor to build strong relationships among worship team members. God honors efforts to solidify the ties between his people. The Bible consistently encourages unity among believers. The worship leader should be the catalyst to building these relationships by continually caring for the members of the worship team.

Getting the Most from Rehearsals. In attempting to get the most from rehearsals, there are many practical considerations. The first of these is the frequency of the rehearsals. How often you rehearse must be determined by the situation; however, a once-a-week practice works best in most cases. The length of practice sessions should also be determined by the particular circumstances. A team of two musicians will probably not require as much time as a thirty-piece orchestra.

Additionally, what should be done at each rehearsal must be addressed. Many things should be considered: worship, prayer, introducing new songs, revising old songs, evaluations of previous services, teaching, discussion, practicing special music, etc. All of these can be done, although it is unnecessary to attempt to include all of them in each practice. Worship and prayer, however, should be a part of every practice session, though the amount of time dedicated to them will vary. In fact, using variety will help keep rehearsals from becoming boring and predictable.

Understanding the Role of Music

The Purposes for Music. Throughout the more than 800 references to music in Scripture, there are several reasons given for the use of music. One use is simply to praise and worship the Lord. Throughout the book of Psalms, God’s people are entreated to “Praise the Lord!” and to “Sing unto the Lord!” Another use of music is to teach God’s Word. “Let the word of Christ dwell in you richly as you teach and admonish one another with all wisdom, and as you sing psalms, hymns, and spiritual songs” (Col. 3:16). Music can also help to release God’s power (Acts 16:25–26; 2 Chron. 20:1–22). Additionally, music is a means to tell of God’s great works and, consequently, to stir up faith: “tell of his works with songs of joy” (Ps. 107:22). Music also helps to bring a unity within a corporate gathering and aids in the focusing of hearts and thoughts toward a central point, in this case Jesus. Understanding these purposes for music will enable a worship leader to be more effective.

Music as a Tool. Just as a craftsman carefully chooses the tool he uses for each specific task, so a worship leader can choose the instruments from among those on his or her worship team that best express the various “moods” of the Spirit of God. For example, a slow, intimate time of communing with the Lord would be better enhanced with soft strings or solo acoustic piano than with a blaring electric guitar solo or loud cymbal crashes. On the other hand, during a boisterous time of jubilant celebration, electric guitar and loud cymbals might be very appropriate. Obviously, these are extreme cases, but worship leaders need to learn even the subtle nuances of musical enhancement of worship. At times, this may even mean that worship leaders, if they lead with an instrument, must stop playing to allow a more fitting instrument to carry the music. Worship leaders who are willing to sit out themselves are better able to ask others to do the same. Using all of the instruments available to their fullest potential—but not overusing them—is the key.

The Power of Music. Music in and of itself is a powerful force. Even before adding the anointing of the Holy Spirit, there is an apparent force in music. Secular studies alone have proven that music will affect a person’s mood, alter buying habits, help relieve pain, reduce or increase stress, make people work more efficiently, and even affect eating habits.

There are numerous scriptural references to the power of music (1 Sam. 10:5–6; 16:23; 2 Kings 3:15; etc.). God has apparently put an inherent quality in music that gives it some sort of sway over the unseen realm. This is true for both good and evil purposes.

An effective worship leader needs to begin to find through personal experience and the experiences of others how to use music to its fullest potential. In addition to instrumental sensitivity, a worship leader needs to find out how music relates to what the Lord is doing and then use it to accomplish his purposes. Seeking the Lord for his understanding of the power of music is the key.

Compiling a Solid Song Repertoire. The first thing to do in compiling a solid song repertoire is to examine the lyrics of old songs and potential new songs. It is best to examine the lyrics separately from the music. When checking the words, it is essential to be certain that they are consistent with Scripture, that they are within the experience and understanding of the congregation, and that they rhythmically fit the music.

When examining the music, it is good to be certain that the music is of good quality; that it is within the experience and understanding of the congregation, and that it enhances the words.

It is also good to check for overall variety within the song repertoire. Be sure that a variety of keys, rhythms and tempos, and styles of music is represented, and that there is variety within individual songs (e.g., men sing, women sing, soloist sings, etc.).

An effective worship leader must constantly be searching for new songs to enhance the repertoire.

The Path to Excellence

Being Loyal to Those in Authority over You. The most important characteristic a worship leader must pursue in relation to his or her pastor is loyalty. This is not a simple one-time verbal assent of loyalty, but a daily working out of that loyalty. Developing loyalty is not necessarily simple. It does not just happen; the worship leader must work at it (Heb. 13:17).

Pastors and worship leaders can have solid, fulfilling relationships, but those relationships must be seen from a biblical perspective. The pastor, just as the husband in a marriage relationship, is the one with ultimate authority. That does not mean he or she lords it over the worship leader, but it does mean that the pastor is in charge. He or she has ultimate responsibility for that particular congregation of people. The worship leader, just as the wife, must learn to be submissive. This is not always easy for a creative, artistic person, but it is essential to establish a trusting relationship between pastors and worship leaders. In addition, worship leaders who show loyalty to their pastors will reap loyalty from their team members. Just as in a biblical marriage relationship, cultivating loyalty in your relationship to your pastor is well worth the effort.

Sticking with It Even in the Not-So-Fun Times. Although leading worship can be a lot of fun, it is not always so. Difficult times are an integral part of being a worship leader. In any part of life, there will be trials. “A righteous man may have many troubles, but the Lord delivers him from them all” (Ps. 34:19). God is most interested in how people handle trials. Christians cannot base their walk with the Lord or even their service to him on how things seem to be going in life. There is only one standard by which to safely measure life—the Word of God. If worship leaders rely on good times, people’s reactions, emotions, or anything but the strength of the Lord to carry them through, they will have ultimately missed God’s best for them.

To be effective as a worship leader over the long term requires frequently recalling to mind the promises from Scripture that God will always love and sustain his people and never forsake them.

Ministering Beyond Your Comfort Zone. Frequently, the Lord calls Christians to go beyond the comfort zones of their lives to allow him to “stretch” them. Staying where it is comfortable causes people to stagnate. Going beyond these areas can cause growth. The same is true for worship leaders. Continually doing the same comfortable things will not promote growth. It is only by going beyond those comfort areas that real development occurs.

Jesus said to “go and make disciples of all nations” (Matt. 28:19, emphasis mine). He did not say to do it only if it was comfortable. Ephesians 4:12 says that the role of leadership in the church is to equip the rest of the people for the work of the ministry. Sometimes it is easier for leaders to do the work themselves, but that is not God’s best. Ministering beyond the normal area of comfort will cause growth and maturation in the worship leader and in those around him or her.

Preparing Yourself to Lead. The initial preparation needed for leading worship is the realization that there is only one way to come before the Lord: by the shed blood of Jesus (Heb. 10:19). One’s own strength or goodness or even excellent musical abilities are not enough. Only Jesus’ sacrifice on Calvary allows access to Almighty God.

Beyond this initial preparation is the preparation for the specific service. This requires prayerful consideration of the theme and various aspects of the service and then choosing songs, Scriptures, and other components of the service. All of this can be done prior to the service by asking for the Lord’s guidance in all of the preparation.

Once the songs are chosen, diligent practice of the music performance is necessary. Consideration should be given to medleys, transitions, key changes, and similar matters.

Understanding the Dynamics of the Worship Service. Once the preparation has been completed for a specific service, then it is time to lead. It is important to note that although all of the necessary preparation has been done, it is still absolutely imperative to remain open and attentive to the Holy Spirit while leading. A major change in plans is unusual if prayerful preparations have been made. However, changes can occur and preempt even the most carefully prepared song list.

In addition to this, other practical ideas can be helpful. Create a “flow” in worship by using medleys of songs (endeavoring to maintain concepts such as rhythm/tempo and lyric content), flowing from one right into another. Also, use simple chord progressions to allow the people to sing spontaneously unto the Lord.

Avoid progressing too quickly. Many of the people in the congregation have spent little or no time in preparation, and they are not mentally, physically, or spiritually prepared to enter the presence of the Lord. Finally, always keep your eyes on the Lord.

Desiring and Pursuing Excellence. God held nothing back when he created the earth. His creation was not a halfhearted effort but the absolute best it could be. The church needs to grasp the concept of excellence more fully, especially in the music department. Too often the attitude is, “It’s good enough for church,” or “The congregation will be singing along, so they won’t notice the mistakes.” This attitude is the complete opposite of God’s attitude (Mark 7:37).

An effective worship leader really has no choice but to desire and pursue excellence. The standard of excellence is simply a part of the nature of God. The death blow needs to be struck to mediocrity within the church. If worship leaders can grasp and implement this attitude in their ministries, the blessing of God will be poured out to maintain it.

Praying toward that end and striving for excellence in all areas are the main keys.