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When asked about their reasoning for choosing contemporary music for worship, one will usually give one of just a few answers. In 14 Ibid. If one would ask many Christians today how they know a worship service has been successful, they would, if they answered honestly, base the success on the feeling experienced during worship.
This is functionally no different than Charismatic worship. This is the primary issue of contemporary worship. It is effectively inseparable from the Charismatic theology. The benefits for the believer are secondary and are in no regard a part of the actual purpose of worship. This is in effect the primary crux of this paper and an answer for the thesis. Contemporary worship is not acceptable for the worship of God because it generally leads to the displacement of God as the focus of worship.
This focus is replaced with one that centers on the worshiper and his experience. This is the natural effect of contemporary worship as a result of the nature of the music and form used itself. Contemporary worship ignites the passions and the emotions of the worshiper, creating an energetic and ecstatic atmosphere. Worship should be characterized by the desire to give God the glory in response to the truths taught in his word.
Music should be filled to the brim with doctrinal truths about God praising him for what he has done, not what feeling what we want to experience.
The order of what happens with music is important. Worship occurs when believers hear and understand truth while the music helps express the response. Technically that is possible, yet that is not the natural expression of contemporary worship.
In any honest and objective observation of contemporary worship, it is difficult to find a congregation where the group overall is putting the experience or the act of worship above the one being worshipped. It does not take a trained musician to recognize music that is intended to stir the passions. It may not be wrong in and of itself, but it is certainly not appropriate for congregational worship.
Such music inherently bypasses the intellect and runs straight for the passions. It is not deeply felt affection resulting from understanding biblical truth; it is emotionalism, pure and simple.
The issue of whether a certain piece of music is inherently immoral or moral is a difficult question to answer, and the blanket statement that all popular rock music is immoral is not necessarily true. But it is true to say that those styles of music speak directly to the emotions and ignite the passions of those involved. It is clear to see that that these styles of music are not appropriate for the congregational worship of a God that desires our affections. Music cannot really move the soul.
It only moves the emotions. Valid worship starts in the minds. If it bypasses the understanding, it is not true worship. If it is overwhelmed by physical things, such as the skillful and moving performance of orchestras, it is compromised and spoiled. Although the worshiper does receive many benefits from his act of worship to God, these are not the purposes for worship. With a brief look at the Charismatic theology of the Holy Spirit and its designed use of contemporary worship, one can began to clearly see that as far as congregational worship is concerned it is almost impossible to have one without out the other being not far behind.
In regards to worship they naturally support each other. In this form of worship, the focus of the worship becomes the experience of the believer. This is not acceptable in the worship of God. All music does that. The concern involves how certain musical forms elicit emotional responses and exactly what kind of responses they arouse. God-honoring congregational worship music will cause a believer to understand biblical truth, and aid him in his expression of deeply felt affections for God.
In fact, contemporary worship, in the opinion of this author, is just a small sign of a tremendous issue in the church. This issue revolves around both the focus of the self in culture, and the lack of musical understanding of congregations and their pastors.
This issue would be a valuable study for anyone wanting to take this topic further. Then the song stops. The students drop their hands open their eyes.
In front of me two of the girls who had their hands raised a few seconds earlier are having a conversation about their afternoon plans.
Then the music starts up again, they end their conversation, close their eyes, and throw their hands up in the air again. You may have witnessed a similar scene.
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