How to Improve the Music in Our Churches

An analysis of a CT survey raises some pointed questions.

Christianity today’s recent survey on church music (Aug. 8, 1982) affirmed the persistence of the obvious. Though the survey considered church music programs of all sizes, responses were totally predictable, echoing concerns that have been familiar topics among pastors, church musicians, and music educators for years. The longevity of these issues suggests they are not only readily apparent to most observers, but also that they often resist resolution. We cannot assume, however, that what might seem to be obvious issues are always clearly understood—even by ourselves.

Almost all pastors who responded—an overwhelming 98 percent—believe music is of moderate-to-great importance in their church. They believe music allows the congregation to participate and is also an important source of much of the theology the congregation learns. Said one pastor, “Music is an integral part of presenting the Word of God.”

It is no surprise that the pastor determines much of what happens in a church’s music ministry, regardless of how much nominally is the responsibility of the minister of music or choir director. Yet that same pastor rarely has had any serious study in church music as part of his training, which often places him at the mercy of his limited experience or the opinions of others in trying to determine what makes a good church music program. As one pastor lamented, “My seminary did not offer a course in church music.” Fully one-third of pastors have had no training of any kind in music—not even hymnology.

But merely agreeing that church music is important does not mean we can arrive at a consensus as to why it is—or how that importance relates to a given church’s music ministry. The CT survey showed that music objectives are generally unfocused. Some pastors believe music is significant merely on the basis of tradition—“it just wouldn’t be church without it,” said one. Others see it only as an opportunity for people who “love to sing” to use their talent in the church.

Some see music as a means of uniting people. One pastor said music involves one-third to one-half of his church’s total service time, and that it is one of the few activities in which everyone can be a participant, not only a spectator. Another commented that music “provides a means for worshipers to become directly involved in the service of worship.”

But there are still pastors who view music as existing primarily to “prepare the heart” for the spoken message. An encouraging number, however, recognize that music can not only reinforce their preaching—“engraving God’s Word to the heart,” as one put it—but even be the proclamation itself.

Does Significance Spell Commitment?

Saying music is important does not necessarily mean a church will make equal commitments in time, finances, and personnel. Indeed, actions speak louder than words or compliments. For example, only 15 percent of the churches responding have a full-time minister of music. Furthermore, of all ministers of music—whatever their title—barely one-third spend ten or more hours a week in the music program.

Much of the problem must lie with the senior pastor. Many pay only lip service to their support for the music ministry in their churches. “Money is no object in this church,” they say. But that often is not so where the music ministry is concerned. Often musicians are sought who will sing or play for as little as possible—preferably for free. It is a crassly commercial attitude that a pastor demonstrates when he says, “I think I can get so-and-so to play for nothing because he owes me a favor!”

Of course, not all have such attitudes. At least one of ten churches with a full-time minister of music pay him a salary of more than $20,000 annually.

Are Schools Offering Proper Training?

It is also obvious that the tension may be increasing between churches and the Christian schools training the new generation of music ministers. Many respondents echoed the complaint of one pastor: “The schools are not helping musicians prepare for ministry on a local level.” In fact, the majority of pastors feel the music programs in evangelical schools and colleges are “out of touch” with local congregations. Said one, “Often the schools do not achieve balance. Sometimes quality is sacrificed for relevance; sometimes the music is quality but does not relate to the local church taste.” The schools must remember they are to serve the local church ministry.

At the same time, ministers of music should see their ministry more as calling than profession. Too often this is not the case, and the music in many churches is directed instead by hirelings more concerned for their art and to satisfy their performance desires than to glorify God and nurture his people.

Many pastors look for a music minister who is musically competent, balanced in programming, strong theologically, but also sensitive to pastoral concerns and to the importance of congregational music. Personal salvation, dedication to God, spiritual sensitivity, biblical knowledge, a positive attitude, and a gentle spirit top their list of spiritual qualifications for a minister of music. Pastors who wonder which schools are training such individuals ought to communicate their concerns and their needs to music departments, alumni placement bureaus, and school presidents.

What Is The Real Role Of Music?

There is a great deal of tension between the concept of music as “worship” and as “entertainment.” It is unfortunate that because we assume we know the meanings of these words—though we often define them in totally different ways—we do not always communicate clearly what we mean when we use them. Even so, a basic concern is clear: pastors overwhelmingly oppose music as “entertainment” or “performance.” One appealed for music to be used “validly in the worship of God, not as entertainment of people.”

Many pastors are concerned about the apparent motivations of some touring groups. They fear that entertainment, public relations, “raising the musical level of people,” and fund raising dominate the attitude of the sponsoring colleges. “They usually plan tours to draw money and students rather than help ministers understand and appreciate music,” said one pastor.

Although 87 percent of churches, regularly present concerts by outside artists, only 43 percent of these believe concerts are generally beneficial. Small churches tend to view such programs more positively, considering them a means of enriching their own ministries. Commented one pastor, “Outside groups encourage us spiritually and increase our desire to expand our music and our desire to worship.” Said another, “We have had some decisions through the ministry of music.”

Touring groups are frequently seen as extending the outreach of the church. “Outside groups can help us reach new people in the community,” a pastor replied. Another offered an important reminder: “The most beneficial artists are those whose presentation comes across as authentic ministry as opposed to ‘Christian performers’.”

How Are Music And Musicians Used?

The real and perceived integrity of the church leadership in musical matters—from personnel to service procedures—is another concern. The musicians in some churches are treated more as tools to carry out a program than people to be blessed by it. Leaders sometimes forget that people are more important than programs. The pastor who desires a music ministry characterized by integrity must treat his musicians and his program with equal integrity.

Furthermore, is the ministry of music a ministry of the Word? If it is, must the pastor preach at every concert? “No,” said one, “music is a ministry and can convey the same truth I would in preaching.” Four of five pastors surveyed believe that “music proclaims the message.” Said one, “They don’t sing during my sermons; why should I preach during their music?” Another felt it would be “dishonest to invite people to a musical group where I preached.”

Some, of course, do preach at the end of concerts, arguing that preaching is “primary,” or necessary to show that “music shares in the ministry of the Word.”

Where Are Our Role Models?

Christian mass media are increasingly having an impact on church music programs—despite often-strenuous claims to the contrary. But such a burden is normally beyond the level of their expertise. The few “role models” there are in church music tend to be Christian television personalities, contemporary gospel song composers and performers, and denominational music officials. Too often our few quality role models come from outside the evangelical constituency, pointing up the increasingly critical need for effective, demonstrative leadership on a national level. Church musicians are looking earnestly for help and guidance in a variety of areas. It is long past time for us to reclaim our heritage and speak authoritatively if we are to determine future developments in this ministry.

So What Can We Do?

We must not simply lament the persistence of these obvious concerns. Rather, let us courageously implement certain basic concepts. Following are some ways churches and their pastors and church musicians can act to improve the present situation:

1. Make sure the ministry of music is primarily a ministry of the Word. This demands strong biblical content in our music and selection of music leaders who are maturing believers. Simply being a good musician is not enough: leadership of the music ministry should be in the hands of spiritual leaders.

2. Resist comfortable mediocrity at every level. One pastor wrote, “As in all things in church, I miss a sense of need to produce the best for God. Anything goes.” Church leadership can expect any change that emphasizes worship over entertainment, quality over mediocrity, and sacrifice over convenience will invite censure from some—often those who are most influential in the church.

3. Support verbal endorsement of the music ministry with adequate funds. If good people are to be had—and kept—they must be treated properly and given the tools with which to work. It is difficult to make bricks without straw. Above all, communication must be honest. People should be treated respectfully, even the least accomplished singer or accompanist.

4. Identify and capitalize on a church’s unique strengths; at the same time, seek to improve areas of weakness. Each local body has its own ministry. We demean what God has given specially to us if we try to be someone else. When George Gershwin went to study composition with Maurice Ravel, the great composer asked him, “Why do you want to be a second-rate Ravel when already you are a first-rate Gershwin?”

5. Encourage seminaries to incorporate required studies in worship, hymnology, and pastoral involvement in music as part of the regular curriculum, not only as electives. The Southern Baptist seminaries in particular have led the way in developing innovative curricula. Comparable studies in courses such as “The Pastor and the Ministry of Music” could also be offered for ministers already serving pastorates. Pastors conferences could include seminar sessions led by qualified ministers, or team taught by perceptive pastors and musicians.

At the same time, while being more responsive to the needs of the church, schools can retain a vigorous commitment to keep vibrantly alive our priceless musical heritage—both classical and congregational. Music students must view themselves as preparing for a ministry, not just a profession, and touring groups need to emphasize ministry while maintaining quality, balanced programming, and sensitive communication.

6. Make greater use of the hymnal, and help people to expand their repertoire. Some pastors do this by quoting or incorporating references to hymns in their sermons. Others emphasize meaningful congregational singing. We all need to remember that a songleader is a worship leader, not a ringmaster.

We must never think we have all the answers. John Balyo, a minister with whom I worked for several years (now president of Western Baptist Bible College, Portland, Oreg.), was fond of saying, “Anyone who thinks he knows all the answers just doesn’t know all the questions.” A survey such as this one could touch on only some of the more obvious questions.

RICHARD D. DINWIDDIE

Mr. Dinwiddie is music director and conductor of The Chicago Master Chorale and visiting professor of church music at Trinity Evangelical Divinity School, Deerfield, Illinois.

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