Congregational Singing Is Special Music

Here is an undeniable fact: most modern Christian music is written for specials performed by specialists: soloists, ensembles and choirs. Whether one is looking at the work of evangelical or fundamental songwriters, our preoccupation with non-congregational music is obvious, and it is troubling. I suggest that the nature of the songs we are producing reveals much about our concept of worship.

First, it seems to indicate that “special music” is more about performance than we’d like to admit. Think about it: why don’t our choirs and soloists typically sing old hymns? At least part of the answer is that people–both those singing and those listening–expect specials to be new, fresh and attention-getting. The “oldies but goodies” just won’t cut it; special music has to be special…for the Lord’s glory, of course.

Now, I’m not opposed to specials, though we don’t always have them. Nor am I opposed to new texts and tunes and arrangements. I do wonder, however, if the desire for something new and inspiring is indicative of a “wait ’til you hear this” mentality that distracts from and competes with worship in spirit and in truth.

The second point is even more important to me: our failure to produce new congregational hymns seems to indicate that we don’t value congregational singing. Reaching that disturbing conclusion is not difficult: what we invest our time and talents in producing is a strong indication of what we really consider to be important. The problem is, our neglect of songs written for the entire assembly stands in stark contrast to a truth that should be self-evident: corporate worship is best expressed by corporate singing. The singing of the entire assembly should be primary in corporate worship. Yet, when is the last time a fundamentalist songwriter majored on producing fresh expressions of biblical truth designed to be sung by the entire congregation? Though it happens, it doesn’t happen often, and it doesn’t happen enough, in my opinion. Instead, we invest countless hours writing and rehearsing special music, while corporate music gets the “leftovers” of our creativity, our rehearsing and our appreciation.

D.A. Carson has an interesting take on special vs. congregational songwriting in Worship by the Book:

“Britain, without much place for ’special music’ in corporate worship, does not have to feed a market driven by the search for more ’special music.’ Therefore, a great deal of intellectual and spiritual energy is devoted to writing songs that will be sung congregationally. This has resulted in a fairly wide production of new hymnody in more or less contemporary guise, some of it junk, some of it acceptable but scarcely enduring, and some of it frankly superb. By contrast, our addiction to ’special music’ means that a great deal of creative energy goes into supplying products for that market. Whether it is good or bad, it is almost never usable by a congregation. The result is that far more of our congregational pieces are dated than in Britain, or are no more than repetitious choruses” (p. 53).

(Rabbit trail: His point about Americans producing songs that are not “usable by a congregation” is very true. Perhaps the only thing worse than not writing congregational songs at all is trying to make up for it by singing “special” songs congregationally. That can be painful to sing and painful to hear.)

Those poor Brits don’t know what they’re missing. Or do they? Why do American Christians–including fundamentalists–emphasize music for small groups and neglect music for entire assemblies?

• Maybe it’s because special pieces allow for more creativity, more artistry, more challenging writing, etc. I get that, to a point.
• Maybe it’s because we’re convinced that the wonderful hymns we already possess are enough. That’s a faulty idea, to be sure, but perhaps one that is believed.
• Maybe it’s because the entertainment industry–both secular and (ahem) sacred–has changed our thinking about the purpose of music in worship.
• Or maybe it’s all about marketing.

Nah. That can’t be it.

God is uniquely exalted by the corporate singing of the redeemed. Scripture teaches that. Church history teaches that. Thus, I urge pastors and those who lead in corporate worship to make congregational singing primary in your preparation and in your service order. I urge those who participate in special music to be even more excited about the privilege of singing a hymn as part of the congregation than you are to sing a solo in the “choice” spot before the message. (Take a few minutes to check your motives to see if that’s the case.) I urge those who are not particularly talented musically to be eager participants in congregational singing, realizing that your singing has little to do with your skills and much to do with God’s greatness! And I urge those who are writing songs–and those who should be–to invest some time and creative energy in producing excellent songs designed to be sung by all of those assembled, not just one or four or twenty.

Tags: Philosophy of Worship, Worship Leaders, Worship: Congregational, Worship: Intentional