An Analysis of Christian Worship in Two Settings

            Throughout most of its history, Christian Worship has been somewhat standard in its expression.  However, beginning in many ways with the Reformation, and continuing to this day, the believer is finding a greater and greater variety in how one participates in community, in the forms and styles the community worship offers, and even the very message that the worship is trying to convey and express.  There is indeed a cornucopia of expressions and customs which can be found to fit each individual’s own tastes and inclinations.  Of course the question arises whether Christian Worship should in fact be partly based on how the individual seeks to express him or herself as an individual, or whether in fact the individual should conform his or her inclinations to a historic, established liturgy to inform and guide the expression.   This is a very deep question indeed which in many ways touches on a wide range of theological questions and the answer of which can itself range along a wide spectrum. 

The goal of this paper, however, is to look more specifically at one end of this worship spectrum, taking as assumed that worship should indeed, at least in part, be an expression of the individual’s own tastes and inclination.  This side of the spectrum has become known in modern parlance as “contemporary” worship, and can be characterized by (most distinctly) the form of music it uses, lyrically and musically, and the general updating or disposing of more traditional liturgical elements.  However, within this contemporary milieu there is a great deal of nuances and theological expression which can be missed by those who focus entirely on the updated forms by themselves.  My goal, then, is to briefly examine two “contemporary” gatherings, seeking to discover the theological backgrounds and statements each express, and seek to find the nuances of the worship which provide both distinction and congruence.

The first setting is that of my own church, New Song Church in Covina.  It is by connection technically Conservative Baptist, but in theological tradition more in keeping with modern “non-denominational” churches in its tendency to de-emphasize any denominational background, connection, or influence.  In this, interestingly, is maybe its best connection with the Baptist tradition.  This tradition has always tended to emphasize the ability of the local congregation to best determine its own liturgy, and to be more free and willing to re-examine past practices and forms of expression.  While being more “liberal” in its expressions, however, this tradition has been very “conservative” in its theological outlook, being a mainstay of the Fundamentalist movement and later the Evangelical movement in this last century.

Although many would be appalled at this fact, a liturgy of “contemporary” services has arisen, which serves as a model for most churches that follow this style, including New Song.  This past Sunday shows this to be clear, and also shows how if one knows the “liturgy”, the theological expressions of where the church departs becomes clear.  The service began with a reading of a Psalm as a call to worship, read by the worship leader.  This is a role in contemporary services which almost exclusively refers to the person whose primary function is limited to leading the music and singing for the service.  It can be said, however, that this is not a limited role, but rather expresses the very high place that musical expression holds in this type of service, being the focal point of participation and worship in this church. 

This reading of the Psalm then led into the singing of two songs, led by the “worship team” and drawing in the whole congregation’s participation.  A soloist then sang a ballad about the importance of modeling the Christian life for one’s children.  At this point our lead pastor spoke for about thirty-five minutes on Exodus 28-29.  There was not a time in which the Scripture was specifically read as an introduction, but throughout the sermon, the text was displayed on a large screen behind the speaker, and this text and others were read and referred to throughout the message itself.  Following this message, there was a time of prayer and an invitation for those who wished to commit, or recommit, their lives to the Lord to join in a prayer of belief and confession. 

This time of prayer flowed into a longer stretch of singing and music, during which those who felt a desire to renew and refresh their faith were invited to come forward and kneel while others in the congregation prayed over them.  This time of music lasted for about twenty  minutes.  There was then another prayer and time set aside for announcements concurrent with the taking of the offering.  The service ended with a final song, with the entire congregation participating, and a word of benediction reminding the congregation of its role as priests to this world.  As the congregation left, the “worship band” played through one of its upbeat songs, without vocals, with more musical freedom and expression encouraged during this time.

        The congregation at New Song tends to be rather young, with most of those in attendance in their 20s and 30s.  Being that this was a church originally intended to minister to those within “Gen-X” this is not surprising.  However, increasingly this is a church where those who are older (a relative term, meaning those in their 40s and 50s) feel more comfortable and are better represented, and a church where kids abound.  In general, sadly, this church is primarily Caucasian, and primarily middle class in its make-up.  About four-hundred people attend each of the two morning services, which takes place in a local junior-high school gym. 

Theologically this is a very conservative church, well within the bounds of Evangelicalism, and in many cases expressing a strong Fundamentalist past.  This theological outlook, however, also comes out in its tendency to discard traditional forms of worship, to be skeptical about denominational connections, and to hold the Bible and the ministry of the entire congregation in very high regard, while at the same time tending to de-emphasize the role of the pastor, and the place of the sacraments.  This church expresses a very high view of the individual’s ability for expression in worship, and on the variable nature of worship in different contexts and situations.  Worship flows out of the general expressions of a community, rather than being something which a community adapts itself towards.

This is highlighted especially in the form and style of the music.  As stated before, music is the primary expression of praise and worship in this setting, with an understanding inherent in the leading of this music the ability for music to lead and steer the theological perspective of the congregation.  Interestingly, this really has in the past had more to do with the music itself, and less to do with the lyrics being sung.  Thankfully, at New Song this is being restored, the music is now both musically and lyrically strong.  The tendency is to open with an upbeat song, to focus and raise the energy of the congregation towards praise.  At New Song this was a song patterned after a Psalm of Ascent, put to very upbeat and modern music.  This was followed by a singing of “When I survey the Wondrous Cross”, [1] with the music reworked so as to convey the same tune in a modern context, though still lyrical in its expression.  The second set of songs at the end of the service also brought a sense of flow and was able by its musical expression to steer and lead the congregation in a time of reflection, meditation, and then celebration.  This is done by a very well led team of musicians consisting of five singers (three women, two men), a bass player, a guitar player, a keyboard player, a drummer, and a saxophonist. [2]   The music reflects modern expressions of style, with four of the seven songs written by our own worship pastor, and the others reworked so as to fit this style.  In this, however, is not the goal to simply be “modern”, but rather to be able to focus on God, so that the style does not interfere in the expression.  The goal of the service is to bring the hearts and minds of the people to Christ, to celebrate together as a people of God, and to spend time expressing the worship, adoration, and yearning we all share for Christ.  In this, the service greatly reflects the goal of Christian gatherings from throughout history.

The second service which I wish to examine has many of the same basic characteristics, an emphasis on music, a de-emphasis on tradition, and a modern style of expression, yet has many underlying theological differences which are significant and influential.  The setting is that of the Vineyard of Anaheim, a church which arose in the 1970s from the charismatic movement that began not too much earlier.  Although it started as a simple small group of believers meeting together, it has since blossomed into an enormous congregation, with a very large sanctuary (resembling more an auditorium than a traditional church), and a very large campus which allows for a very broad range of ministries, including its own music studio for the production of worship CDs.  This was an evening service, so the length of the service was more flexible and longer than a typical Sunday morning.  The congregation was again mostly Caucasian, and while the various generations were well-represented, it seemed to primarily be a “baby-boomer” church.  It is not connected with any denomination, though one can argue that the network of churches which have flowed out of this congregation can be considered a denomination itself (though certainly they themselves would protest this pejorative label).

It began with a very long set of songs at the beginning, lasting for about 45 or 50 minutes, following the typical flow of fast songs transitioning into slower, more reflective songs.  This was followed by a time of general announcements, somewhat lighthearted in its presentation.  During this part of the service there was also a testimony of a man who had suffered from advanced AIDS, and who had been prayed over a year before.  There was a video of this prayer time, showing this emaciated man responding to a specific “word from the Lord” from a staff member, and being prayed over.  On this evening the man, looking fit and healthy, and his wife arose and spoke for about ten minutes about being healed, and how God had worked in their life over the past year.

A message followed using John 4:21-24 as the text, with the topic being the proper attitude of worship in the life of the believer.  Again, the text was not read in isolation, but rather read and referred to throughout the sermon, with the congregation greatly encouraged to follow along in their own Bibles. Following the sermon, there was  an offering while the worship team led the congregation in singing.  They continued to play for about another half hour.  Following this, a time of “ministry” began which started with a time of extended silence and prayer, with the pastoral team slowly expressing “words of the Spirit” for those in the congregation, [3] and encouraging those who have been touched by these “words” to come forward for prayer, or be prayed for by those who were sitting around them.  This time went on for about another forty minutes or so, when the leaders did not necessarily end the time of prayer, but did have a benediction for those who felt able to leave. 

Again in this service music played a key role, not in trying to be modern as a goal, but in the realization that music itself can be a tool of the Spirit, and that musical expression, like any other art, can lead a person and a congregation into a deeper connection with the spiritual than words alone are able.  For those churches which are contemporary in nature as opposed to purpose, this style is truly capable of steering and leading a flow of worship in a very orderly and distinct pattern, with both celebratory praise, mournful confession, and solemn adoration coming from the band and the congregation.  At Vineyard, especially, physical expression is greatly encouraged, with each believer being encouraged and free to dance, kneel, or do whatever else seems to physically express their attitude before God.  Banners and flags were waved, people had their arms lifted high and there was a great deal of movement throughout the congregation during both the singing and times of prayer. 

While some might see disorder in this, there truly is a order maintained, though certainly with wider boundaries than other churches may feel comfortable with.  The underlying theology of this service is that the Holy Spirit is active in the life of each individual believer, and is eager to participate in the life of the congregation through charismatic gifts of healing, prophesy, and tongues.  The time of prayer at the end reflected in many ways the Quaker tradition of allowing the Spirit to move and steer the congregation, combined with the Pentecostal tendency for this movement to be in specific expressions.  The time of worship was meant to first point people towards God (in the first set) and then to facilitate the movement of the Spirit in the congregation so that people would be touched by physical and emotional healing, and be ministered to by the work of the Holy Spirit in their lives.  It was very upbeat, and interesting to see their how their theology of the Holy Spirit worked itself out in the congregation. 

Both of these services had a great deal in common.  In both, music is the most important aspect of worship, with the musical expression steering, leading, guiding, and developing the congregations sense of God, and his activity, and allowing them a time of response to him.  With this comes a very high role for the leader of worship, who must not  only be an accomplished musician, but also is able to sense the atmosphere, and respond with appropriate Scripture texts, and exhortational comments, in order to help the congregation focus on God.   This comes in a variety of expressions from the leader himself (at Vineyard) or herself (this past week at New Song) fitting with the mood of the music, being joyous and celebratory during the upbeat songs, and being meditative and austere during the slower songs.  Sometimes this is not necessarily even dependant on something the leader says, but rather the leader is able to set the mood through non-verbal leadership.  

The messages of both were based in and focused on Scripture, though in neither was Scripture set up by itself during a specific time of reading.  However, throughout the sermon the specific texts and other texts from both Testaments were read and referred to, showing a very high regard for the words and authority Scripture has for the church.  There was in neither a time focused on the sacraments, with the tradition being in both a once a month celebration of communion, and even more occasional baptisms.  The participation of the congregation was encouraged by singing and physical response during the time of music.  Both had very friendly atmospheres and  a sense of fellowship about them. 

The difference arises more in the goal than in the expression.  At New Song, the goal of gathering together is to celebrate the work of God in our life as a community, to come before him in worship and adoration, and to grow together as a community in knowledge and faith.  The worship is focused on responding to God, and bringing forth “sacrifices” of music for him, for his own sake.  At Vineyard this is certainly present, but there is throughout a feeling of expectancy, a feeling that if we worship properly, God will respond in a powerful way.  While the time of music and preaching is wonderful, there is also a clear sense of waiting for the highlight of the service which comes at the end during the “ministry” time.  Worship, then, is not only an expression but in many cases a tool to facilitate the working of the Spirit in visible ways.  This is typical of “revivalistic” expressions of worship, with Pentecostal/Charismatic churches seeing worship as a tool for the charismatic gifts, and Evangelical/Evangelistic churches seeing worship often as a tool for the “altar call”. [4]   

For one who is not comfortable with the “contemporary” forms of worship, the similarities of the two services might cover up the differences in theological thinking which underlie the two congregations.  These two churches have a different view of worship, which although similar in expression, does indeed become obvious.  While both are musically rich, New Song tends to be more lyrically rich, with the idea that we are truly expressing deep things to God in coming before him.  Vineyard tends to be more free in its use of time and in encouraging physical expressions of worship.  The goal at New Song is to come before God as a congregation, while at Vineyard they add the expectancy that God will respond in a charismatic way.  Worship at New Song is a response, while worship at Vineyard is also a tool. 

The similarities of these two churches are much greater, however, than these differences.  Both are conservative in their theology, though not in their expression.  Both are willing and eager to worship in a way which does not necessarily have traditional roots, and are continually seeking out forms of worship which allows the congregations to best express their hearts before God.  Each, in many cases, lacks a strong sense of reverence in coming before the Holy One, however, and tends to treat God as more of a familiar than truly God.  With this though also comes a strong connection with the One who saves, and a strong sense of the joy of salvation and freedom in Grace.  Each of these Churches holds to a very high view of the Bible and the priesthood of all believers, expressing through their worship that while tradition is useful, it is entirely within the ability of each congregation and each believer to interpret Scripture and express in the congregation the fruits of this interpretation.  While each congregation has its own understanding of the broader role of the Holy Spirit in the life of the community, both have a very strong belief that the Holy Spirit is truly active each and every time the community gathers together.  So while the nuances and distinctions of these two congregations show some differing underlying theology, what is important and vital is that there is the same faith, the same Lord, and the same fellowship that Christians have had throughout the last 2000 years.  It is this area of congruence that we can celebrate, in whatever manner we see fit.

---

[1] This is a hymn used solely for its content, not to appease certain parts of the congregation, expressing in itself an interesting theological expression of using what is useful for our purpose, from whatever era or tradition. 

[2] There are four “worship teams” of musicians, one for each week of the month, with only the leader tending to play every week.  This allows for a variety of styles, and encourages increased musical expression by providing an opportunity for these musicians to use their gifts.

[3] For example, “There is a person with a sore back, that has been bothering him or her for six months”, or “There is a special need to pray for 25 year old single women.”

[4] Expressly stated by Charles Finney in the 19^th century, and his successors to this day.