The more I read about the history of Christian theology - and particularly thinking about our theologising about worship music - the more I notice a disappointingly human flaw. We too often do our thinking about God with our head over the shoulder, checking out someone else and trying to avoid what we see as their errors: for Augustine it was seductive paganism, for Luther it was highfalutin papistry, and for Wesley and Zschech it was suburban Anglicanism. A response to other ideas is necessary. But a theology forged largely as a reaction against something will have great weaknesses - knocking down someone else's sandcastle doesn't leave you with anything better, just a pile of sand. How sad to see ourselves as on a trajectory towards or away from someone else - our goal is to be more like Christ.
First, reactive theology quickly loses touch with the truth that worship is God’s idea, not a human invention. The Old Testament repeatedly reminds Israel that worshipping God means engaging with him ‘on the terms that he proposes and in the way that he alone makes possible’ (Peterson, Engaging with God, 20). Now, creativity is allowed – even encouraged – within those terms. But reactive theologies take human ideas as the starting point – the opposition’s practices set the agenda, and determine which questions are asked.
This means the relative importance of many practical questions (like whether to use instruments) is exaggerated. God is particular about many things, but not the style of music. Theologies which take the practices of other groups as their starting point will routinely get stuck answering the wrong questions: defining acceptable worship by style, rather than whether it helps believers engage with God and edify each other.
Second, reactive theologies often force a wedge between two right answers. Reacting against the idea that worship is simply music, some assert that music has little to do with worship. They assume that the idea of worship as a ‘total-life orientation’ is an innovation of the New Testament writers, and one which supersedes the Old Testament devotional practices without a trace. This is inaccurate on both counts. When God taught the Israelites on Mt Sinai how he was to be worshipped, his instructions covered both ritual and lifestyle. And while the New Testament radically transforms worship to centre upon Christ, and places added stress on corporate edification in church meetings, worship music is still worship.
A theology of music in worship needs to be broad enough to see music as part of worship, without equating it with worship.
Third, reactive theology routinely overcorrects the opponent’s flaws. An illustrative example is Zschech’s insistence that worship music is addressed to God. This is an accurate correction to some reformed theologies which so emphasise the teaching role of music that God seems a distant third party. But to bolster her argument she makes the inaccurate assertion that Israel’s singing was exclusively ‘to the Lord’ and ‘they never sang to each other’, implying that we should not sing to each other (Zschech, Extravagant Worship, 189). Actually the Old Testament is full of people praising God by ‘noticing’ how great he is, and singing about it to their fellow Israelites – even to their enemies! Paul instructs Christians both to ‘sing and make music in your heart to the Lord’ as well as ‘speak to one another with psalms, hymns and spiritual songs’. As with everything in church life we need to be aware of both the ‘vertical dimension’ (by which God ministers to us and we respond), and the ‘horizontal dimension’ (as we minister to each other). We are not to understand the horizontal and vertical aspects of church life separately, but rather ‘Paul’s teaching encourages us to view the same activities from both points of view’ (Engaging with God, 221).
No matter what tradition we come from, we all need to form our own sense of what the Bible says about worship, and we need to work out what kind of place music will have in it. The better approaches, however, will be prepared to evaluate their own inherited tradition in light of scripture, accept what is good in other practices, and marshal whatever musical resources their culture can offer to realise a full biblical vision of music in Christian worship.
AJ
(Something like this post originally appeared as a section of my article in Case Magazine, 'Theologising about Music in Worship: A brief history from Augustine to Zschech', Case 23 (2010), 10-15. http://www.case.edu.au/index.php/case_magazine/case_23_music_and_theology/)
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