Church Music and the Worshiping Church: An Examination of Contemporary Christian Music and a Defense of Traditional Hymnology
Church Music and the Worshiping Church: An Examination of Contemporary Christian Music and a Defense of Traditional Hymnology
Introduction
Church music serves as a powerful medium through which the people of God engage in worship, communicate theological truths, and cultivate spiritual formation. From the earliest days of the Christian community, believers have lifted their voices in praise, drawing on psalms, hymns, and spiritual songs (Eph 5:19; Col 3:16). However, the development of musical styles over time has occasioned significant debate, particularly in the modern era. The tension between traditional hymnology and contemporary Christian music (CCM) reflects divergent understandings of theology, culture, and worship practice. This essay offers a balanced examination of both traditions, presenting a thoughtful critique of CCM while constructing a comprehensive defense of historic Christian hymnody.
Historical and Theological Foundations of Church Music
Early Christian Worship and Musical Development
Music has always occupied a central role in Christian liturgy and piety. The early church inherited the Jewish tradition of psalm-singing, which formed the foundational grammar of Christian worship. The Psalter served not only as the songbook of Israel but also as the primary hymnal for the early church, shaping both corporate worship and private devotion. The synagogue’s musical heritage—marked by responsorial and antiphonal singing—was carried over into Christian assemblies, where psalms, hymns, and spiritual songs were sung as acts of praise, confession, and theological instruction (cf. Eph 5:19; Col 3:16).
The New Testament itself bears witness to the presence of early Christian hymnody. Scholars widely regard several texts as poetic or hymnic in form, including the Magnificat (Luke 1:46–55), the Benedictus (Luke 1:68–79), the Nunc Dimittis (Luke 2:29–32), and the Gloria in Excelsis (Luke 2:14). Additionally, Pauline letters preserve fragments of early Christological hymns, such as Philippians 2:6–11, which exalts the humiliation and exaltation of Christ; Colossians 1:15–20, which presents Christ as the preeminent Creator and Redeemer; and 1 Timothy 3:16, which affirms the mystery of godliness. These early hymn-like passages demonstrate that theological doxology was already embedded within apostolic teaching and worship.
Beyond the canonical texts, archaeological discoveries from Christian catacombs, inscriptions, and patristic writings confirm the centrality of musical worship in early Christian communities. Pliny the Younger, writing to Emperor Trajan around 112 AD, described Christians as gathering “to sing hymns to Christ as to a god” (carmen Christo quasi deo), testifying to the Christocentric focus of primitive Christian song.
The development of Christian hymnody progressed significantly during the patristic era (ca. 100–800 AD). The Phos Hilaron ("Hail Gladdening Light") and Gloria in Excelsis Deo (“Glory to God in the Highest”) are among the earliest known hymns still in liturgical use. Latin and Greek hymnographers such as Ambrose of Milan, Ephrem the Syrian, and Romanos the Melodist composed hymns that responded to theological controversies and heresies, particularly Arianism, and provided doctrinal formation for the faithful. The Te Deum laudamus, traditionally attributed to Nicetas of Remesiana or Ambrose and Augustine, became a fixed element of Western liturgy by the fifth century.
The medieval period (ca. 800–1400) witnessed the systematic development of Gregorian chant—a body of plainchant standardized under the Carolingians—alongside the increasing use of hymnody in the monastic offices and emerging vernacular traditions. Liturgical sequences such as the Dies Irae, attributed to Thomas of Celano, and hymns like Veni Creator Spiritus and Pange Lingua Gloriosi exemplified the union of theological profundity and musical form. These early expressions of sacred music laid the theological, textual, and structural foundations upon which the hymnological traditions of the Reformation and beyond would be built.
The Reformation's Musical Revolution
The Reformation marked a decisive moment in the history of church music, fundamentally altering both the theology and practice of congregational singing. Martin Luther, a skilled musician and theologian, revolutionized church music by introducing congregational singing in the vernacular. His hymns, such as Ein feste Burg ist unser Gott ("A Mighty Fortress Is Our God"), gave theological voice to Protestant emphases on justification by faith and the authority of Scripture. Luther's musical reforms were not merely aesthetic but deeply theological, designed to make the gospel accessible to ordinary believers.
John Calvin, while more cautious about musical innovation, nonetheless affirmed the importance of congregational singing, insisting that worship should be both edifying and governed by Scripture. The Calvinist tradition produced the influential Genevan Psalter, which set all 150 Psalms to music for congregational use. This approach emphasized the primacy of biblical text while maintaining musical excellence.
The English Reformation contributed significantly to hymnological development through the work of composers like Thomas Tallis and later the Wesley brothers, whose hymns became foundational to both Anglican and Methodist traditions. These developments established hymnology as both doctrinal instruction and artistic expression, creating a rich heritage that would influence Protestant worship for centuries.
The Emergence and Characteristics of Contemporary Christian Music
Cultural and Theological Context
Contemporary Christian music emerged in the late twentieth century within a complex matrix of cultural, theological, and technological changes. The post-World War II era witnessed unprecedented shifts, including the rise of youth culture, the prominence of popular music, and changing patterns of church attendance and religious authority.
The Jesus People movement of the 1960s and 1970s played a crucial role in CCM's development, as did the broader Charismatic Renewal movement. These movements emphasized personal experience, emotional expressiveness, and cultural relevance in ways that traditional Protestant denominations had not previously embraced. The influence of popular music genres—rock, pop, folk, and later, electronic music—provided the sonic vocabulary for this new form of Christian expression.
Musical and Textual Characteristics
CCM is characterized by several distinctive features that differentiate it from traditional hymnody. Musically, it typically employs contemporary popular music structures, including verse-chorus forms, extended repetitive sections, and instrumental arrangements that mirror secular music. The harmonic language is generally simpler than traditional hymns, often utilizing basic chord progressions that facilitate performance by amateur musicians.
Textually, CCM tends to emphasize personal, intimate expressions of faith, often using first-person singular pronouns and focusing on the individual's relationship with God. The language is typically informal and contemporary, avoiding the more formal or elevated expressions found in traditional hymns. Songs such as "How Great Is Our God," "Blessed Be Your Name," and "In Christ Alone" exemplify these characteristics while representing some of the more theologically substantial examples within the genre.
A Nuanced Critique of Contemporary Christian Music
Acknowledged Strengths
Contemporary Christian music has made significant positive contributions to modern Christian worship. Its cultural accessibility has enabled many churches to engage younger generations and those from unchurched backgrounds who might otherwise find traditional worship forms alienating. The emotional immediacy and contemporary musical language of CCM can serve as an effective bridge between secular culture and Christian faith.
Furthermore, CCM has facilitated global worship through its simple, memorable melodies and repetitive structures that transcend linguistic and cultural barriers. The genre has also provided opportunities for artistic expression and professional ministry that have enriched the broader Christian community.
Theological and Practical Concerns
However, CCM presents several areas of concern that warrant careful examination. The most significant criticism relates to theological content. While exceptions exist, many CCM songs exhibit theological superficiality, focusing on emotional experience rather than doctrinal substance. Research conducted by hymnologist Keith Getty suggests that whereas traditional hymns frequently address the full scope of Christian doctrine—including sin, redemption, sanctification, and eschatology—many contemporary songs concentrate primarily on personal feelings and experiences.
The New Testament itself provides richly theological hymnody. Colossians 1:15–20, for instance, offers a high Christology in poetic form, celebrating Christ’s supremacy in creation and redemption. In this light, Eugene Roehlkepartain rightly observes:
“Worship should lead to greater understanding of theological truth. If we contrast the theological depth of the prose hymn in Colossians 1:15–20 with examples from modern praise choruses, we can see more clearly how trivial and insubstantial some of what we sing in our worship is.”
The contrast between such biblical models and much of contemporary music underscores a loss in theological literacy through song. Many recent compositions, while musically emotive, fail to articulate the deep truths of Scripture, thus weakening worship’s formative function.
The repetitive nature of many CCM songs, while facilitating memorization, can become a substitute for substantive theological reflection. The tendency toward emotional manipulation through extended repetition and musical crescendo raises questions about the authentic nature of the worship experience being cultivated.
As James Montgomery Boice warned:
“The great hymns of the church are on the way out… [They] expressed the theology of the Bible in profound and perceptive ways and with winsome memorable language… Today’s songs… reflect our shallow or nonexistent theology… They are mantras, which belong more in a gathering of New Agers than among the worshiping people of God.”
His critique underscores the urgency of recovering music that forms the mind and elevates the soul, rather than merely stirring transient emotion.
Additionally, the performance-oriented nature of much CCM, often requiring professional-level musical skills and expensive sound equipment, can inadvertently create a passive congregation where worship becomes a spectacle rather than participation. The commercialization of worship music, driven by a multi-billion-dollar industry, introduces market pressures that may compromise theological integrity in favor of commercial appeal.
In light of these concerns, worship leaders must strive for depth and participation without drifting into spectacle. David Garland captures the tension well:
“The danger for us is that we will want to keep up with our entertainment culture… We must walk a fine line between offering worship that is appealing and engaging without becoming simply a splashy performance, and worship that has depth without becoming tedious and flat.”
The challenge, then, is not merely stylistic but theological, preserving reverence and substance in an age of distraction and performance.
A Defense of Traditional Hymnology
Theological Depth and Biblical Fidelity
Traditional hymnody possesses an extraordinary theological density, shaped by centuries of doctrinal reflection and devotional insight. Many of the most enduring hymns were written by pastors, theologians, or poets deeply grounded in Scripture, and their compositions reflect the entire arc of redemptive history—from creation and fall to redemption, sanctification, and final glorification. These hymns function not merely as artistic expressions of personal devotion but as public theology set to music.
For example, Reginald Heber’s Holy, Holy, Holy draws directly from the Trisagion of Isaiah 6:3 and Revelation 4:8, presenting a high view of divine holiness and Trinitarian worship. Augustus Toplady’s Rock of Ages (1776) reflects a Reformed understanding of atonement, emphasizing substitution, justification, and human inability. Isaac Watts’ When I Survey the Wondrous Cross (1707) models cross-centered devotion and echoes Pauline themes of boasting only in Christ (Gal. 6:14).
Many hymns are explicitly built upon or paraphrase Scripture. Charles Wesley’s Hark! The Herald Angels Sing expounds upon Luke 2 and John 1, offering a rich meditation on the incarnation and the hypostatic union. Watts’ Joy to the World is a paraphrase of Psalm 98, though often associated with Christmas, and actually celebrates Christ’s second coming in judgment and renewal. John Newton’s Glorious Things of Thee Are Spoken is grounded in Psalm 87 and alludes to Isaiah 33 and 1 Peter 2.
This deep integration with biblical texts ensures that traditional hymns serve as a mode of scriptural meditation and theological formation, reinforcing the church’s confessional heritage through lyric and melody. They promote not only sound doctrine but also spiritual maturity by anchoring praise in the revealed Word of God.
Hymnals have historically functioned as theological companions, reinforcing core Christian doctrines in accessible lyrical form. As Francis Schaeffer once remarked, “A good hymn book is a wonderful companion to the Bible.” This insight captures the enduring value of hymnody in grounding the church’s worship in the truths of Scripture and shaping the believer’s affections through biblically informed praise.
Musical Excellence and Congregational Participation
The musical architecture of traditional hymnody—especially from the seventeenth to nineteenth centuries—was designed with congregational participation in view. Composed in four-part harmony and set to metrical, strophic tunes, these hymns facilitate communal singing without the need for specialized performance. Tunes such as Old Hundredth, Duke Street, and Coronation were widely disseminated and easily learned by ordinary Christians.
This structural design affirms the biblical principle of the priesthood of all believers, enabling the entire gathered body to offer united praise. The accessibility of melody combined with harmonic integrity supports both musical literacy and theological engagement. Congregational singing becomes not a passive exercise but an active expression of ecclesial unity and theological conviction.
Moreover, many hymns are musically matched to their theological content. The stately tone of Crown Him with Many Crowns reflects Christ’s royal dignity, while the plaintive melody of O Sacred Head, Now Wounded conveys the gravity of Christ’s suffering. This congruence of form and content reinforces the truths being sung, elevating the mind and affections together in worship.
Hymnals themselves functioned historically as teaching tools. The 1707 edition of Watts’ Hymns and Spiritual Songs, for example, was organized according to themes of Christian doctrine and experience, forming a kind of sung catechism. Singing thus becomes an exercise in both doxology and discipleship.
Emotional and Spiritual Comprehensiveness
Traditional hymnody articulates the full breadth of human spiritual experience. Unlike some modern worship that leans toward uninterrupted expressions of triumph or intimacy, hymns reflect the variegated emotional and spiritual contours of the Christian life. They give voice to rejoicing (Rejoice, the Lord Is King), lament (O the Deep, Deep Love of Jesus), penitence (Depth of Mercy! Can There Be), perseverance (Guide Me, O Thou Great Jehovah), and hope (The Church’s One Foundation).
Hymns such as Henry Lyte’s Abide with Me (1847), written as he was dying of tuberculosis, model Christian courage and hope in the face of mortality. Be Thou My Vision, an eighth-century Irish hymn translated by Eleanor Hull in 1912, expresses the believer’s yearning for divine wisdom and presence amidst life’s uncertainties.
These hymns draw upon the Psalter as their spiritual grammar. They echo its realism, its cries of anguish, pleas for mercy, declarations of trust, and songs of praise. By doing so, they ground congregational worship not in fleeting emotion but in the covenantal relationship between God and His people, fostering both authenticity and resilience in the Christian walk.
Historical Continuity and Ecclesial Unity
Traditional hymns provide a living connection to the communion of saints across the centuries. When the church sings A Mighty Fortress Is Our God, it joins with Luther and the Reformation church in confessing God’s sovereign protection amid spiritual conflict. When it sings Watts, Wesley, Newton, or Cowper, it aligns itself with the spiritual awakenings of the eighteenth century. When it sings Be Thou My Vision or Let All Mortal Flesh Keep Silence, it enters into communion with the early and medieval church, echoing the same truths sung by believers in ages past.
This historical rootedness anchors the church amid contemporary instability. Hymns carry the theological memory of the church; they preserve the doctrines, affections, and priorities of previous generations. In an age when much of popular culture is ephemeral and rapidly shifting, hymnody offers a counterweight, an enduring testimony to the unchanging gospel.
Moreover, hymns have historically served to unify diverse Christian communities. Denominations as varied as Presbyterians, Methodists, Anglicans, and Baptists have sung many of the same hymns, thus creating a shared theological and devotional vocabulary. Hymnals have transcended borders and languages, shaping the worship of global Christianity through translation and adaptation.
By recovering and preserving this heritage, the church affirms its continuity with the past and fosters unity within the present body of Christ. Hymns are not merely artifacts of nostalgia; they are enduring vessels of truth, beauty, and faith.
Comparative Analysis
| Category | Traditional Hymnology | Contemporary Christian Music |
|---|---|---|
| Theological Content | Doctrinally rich, Scripture-based | Often focused on personal experience |
| Historical Continuity | Rooted in centuries of church history | Emerged in late 20th century |
| Musical Structure | Harmonically complex, structured for congregations | Simplified, often repetitive, performance-oriented |
| Congregational Role | Emphasizes communal participation | Often encourages passive listening |
| Emotional Breadth | Comprehensive (joy, lament, awe, confession) | Predominantly celebratory or intimate |
| Scriptural Integration | Frequently paraphrases or cites Scripture | Variable, often thematic or topical |
| Cultural Accessibility | May seem archaic to some modern listeners | Highly accessible to contemporary culture |
| Commercial Influence | Minimal, liturgically anchored | Significant, often market-driven |
| Educational Value | High theological and musical content | Variable depending on context and selection |
Conclusion
The examination of traditional hymnology and contemporary Christian music reveals both the complexity of current worship practices and the necessity of maintaining theological integrity in the church’s musical life. While CCM has contributed to accessibility and cultural engagement, it often falls short in areas of doctrinal depth and congregational participation.
Traditional hymns provide theological substance, historical continuity, and spiritual maturity. They are not merely aesthetic artifacts but essential tools of worship, formation, and ecclesial identity. The church today would benefit from preserving this heritage while discerningly engaging with contemporary forms that meet the same standards of biblical fidelity, musical excellence, and corporate edification.
For Further Study
Begbie, Jeremy S. Resounding Truth: Christian Wisdom in the World of Music. Grand Rapids: Baker Academic, 2007.
Boswell, Matt. Doxology & Theology: How the Gospel Forms the Worship Leader. Nashville: B&H, 2013.
Dawn, Marva J. Reaching Out without Dumbing Down: A Theology of Worship for This Urgent Time. Grand Rapids: Wm. B. Eerdmans, 1995.
Garside, Charles. “The Origins of Calvin’s Theology of Music.” Yale University Library Gazette 32.2 (1958): 46–59.
Getty, Keith. “Keith Getty’s Critique of Contemporary Worship Music Is a Step in the Right Direction.” The Heidelblog, December 6, 2021. https://heidelblog.net/2021/12/keith-gettys-critique-of-contemporary-worship-music-is-a-step-in-the-right-direction/.
Gordon, T. David. Why Johnny Can’t Sing Hymns: How Pop Culture Rewrote the Hymnal. Phillipsburg, NJ: P&R, 2010.
Ingalls, Monique M., Carolyn Landau, and Tom Wagner, eds. The Oxford Handbook of Music and World Christianities. Oxford: Oxford University, 2016.
Kauflin, Bob. Worship Matters: Leading Others to Encounter the Greatness of God. Wheaton, IL: Crossway, 2008.
Leaver, Robin A. Luther’s Liturgical Music: Principles and Implications. Grand Rapids: Wm. B. Eerdmans, 2007.
Ng, Samuel. “Musical Eschatology in Contemporary Christian Worship Songs.” Music Theory Online 28.4 (2022). DOI: 10.30535/mto.28.4.5 .
Routley, Erik. Hymns and Human Life. London: John Murray, 1952.
———. The Music of Christian Hymns. Chicago: GIA Publications, 1981.
Watson, J. R. The English Hymn: A Critical and Historical Study. Oxford: Clarendon, 1997.
Webber, Robert E. Worship Old and New: A Biblical, Historical, and Practical Introduction. Grand Rapids: Zondervan, 1994.
Westermeyer, Paul. Te Deum: The Church and Music. Minneapolis: Fortress, 1998.
Woods, Robert H., and Brian Walrath, eds. The Message in the Music: Studying Contemporary Praise and Worship. Nashville: Abingdon, 2007.
Wren, Brian. Praying Twice: The Music and Words of Congregational Song. Louisville: Westminster John Knox, 2000.
ReplyDeleteI've been troubled by a concerning trend among some Christian social media teachers who publicly criticize and shame CCM artists without mercy or understanding. While I understand that artists may make mistakes, I believe it's essential to approach criticism with love, compassion, and constructive guidance.
Instead of publicly lambasting artists, I'd rather see teachers invest time in praying for them and offering helpful feedback. After all, isn't our goal to build each other up, rather than tearing each other down? I've seen teachers take pleasure in dragging artists through the mud in a pious way, which doesn't contribute to church growth. it's spiritual bullying.
I asked one teacher, Before blasting this artist, do you invest time in praying for them? It's easy to condemn someone on social media, where negativity can spread quickly.
They have social media handles, message them privately offering guidance. Mba(No)! They won't.
What's even more disturbing is the double standard. A church musician with tattoos or unconventional style is often judged harshly, while someone who sings spiritual-sounding nonsense that will also confuse AI is given a free pass because they look holy and sound spiritual. I believe the latter is more dangerous, as they can spread falsehood in a pious way.
Is it right for teachers to call out young artists publicly? I don't think so. I focus on building each other up, rather than tearing each other down. I prefer constructive guidance over public criticism.
On a lighter note, I've noticed that these same teachers can get defensive when someone criticizes them. They won't hesitate to defend their reputation. 🤣 It's ironic that they can't stand insults for the sake of Christ. 🤣
I once watched a preacher critique the classic hymn "All Hail the Power of Jesus' Name", claiming the writer was mistaken for suggesting we crown Jesus with a royal diadem. According to this preacher, no one can crown Jesus and I couldn't help but shift my glasses in skepticism 🧐🤣. Apparently, in their church, they've altered the lyrics to ... and Heeeeee is Lord oooooooo... 🥴. I also saw a TV church program where another preacher declared the timeless hymn "Just as I Am" is theologically wrong. Instead of fainting, I just smiled knowingly 👽and blocked my 👂. These people just like tearing.
Thanks for the teaching, Pst J Neil Daniels (Lipscomb)!
I trust you're doing well.😌
Efe (means wealth)
My husband nicknamed me AJ( Aquila Jesse) so when you're praying for that sharp mouthed follower 😁😄,
My name is Efe.🥰
I remember you, Efe! I'm so glad you read and comment on these posts. As usual, your comments here make perfect sense. Know that I appreciate you, dear sister. You are a blessing!
DeleteAmen. I am guilty of liking both. 🥰🙏🏽🧎🏽♀️
ReplyDelete