Hey! Lay off Chris Tomlin: A Response

Jonathan Aigner, a UMC music director and worship blogger, took on a reader recently. Quoting his reader, the anonymous "Glenn", Aigner fires back on Glenn's accusation that Aigner often unfairly takes shots at Chris Tomlin, one of America's modern leaders of music in worship.

Aigner often has a lot of smart things to say, particularly about theology in worship. That's convenient because that's literally the URL of his site.

Though I respect much of Aigner's work, I feel as if this time Aigner missed the mark. In what I can only imagine is a defensive work so as to continue his personal vendetta against Tomlin, Aigner inaccurately describes Tomlin's music, blindly points out the speck in Tomlin's eye, and in the process secures his readership in their own personal dislike of the modern worship scene.

Aigner organizes his thoughts by way of several key aspects of Tomlin's music. I'll do the same here.

Tomlin's Music Isn't For Congregational Singing

 I've many times over been led in singing by Chris Tomlin and those he's raised up as new leaders and songwriters. I also consider myself to be a student of the worship artists who are writing new music for the church. I, as a seminary graduate and music leader myself, think often about what I call the "sing-ability" of the music we lead with.

I'd argue that Tomlin's music is often melodically and rhythmically simpler than almost every other mainstream worship writer. My argument might even consider the fact that his music has caught on more than others' precisely because of this.

Aigner doesn't use this argument, though. His assertion centers on the fact that Tomlin's Amazing Grace (My Chains Are Gone) hits a "high G" in its refrain. That's factually inaccurate. Tomlin's refrain, one he tagged onto the beloved hymn, makes use of a high F, a whole step down from the G to which Aigner is referring. Most basses are going to drop the melody down an octave anyway. Most altos are going to sing it in octaval unison with the tenors (Tomlin, for instance) and the sopranos will sing it just as normal. A G above middle C is unattainable for most baritones, relatively high for most tenors and sopranos, and right in line with with altos. An F (the actual pitch Tomlin sings) is a more agreeable pitch simply because it finds itself below most sopranos' and tenors' passaggios, reachable for baritones, and again in line with an alto melody. I'd criticize Tomlin for writing a G too.  But he didn't write a G. He wrote an F.

Aigner also references the problem of the "solo" worship leader. He remarks that Tomlin's vocal stylings do not allow for congregational singing, instead presenting the congregation with the opportunity to merely sing along. It's true that our modern worship culture doesn't see anything wrong with worshipful singing being described as singing along, but to attribute this solely to Tomlin is unfair. To critique this on the basis of Tomlin's musicality alone is worse yet.

Because He Writes Poor Texts

Here, Aigner tackles Tomlin's poetic skills. The lines he chooses to prove his point are these:

1. And like a flood His mercy rains…
2. He wraps himself in Light, and darkness tries to hide…
3. And if our God is for us, then what could stand against…
4. I will rise on eagles’ wings / Before my God fall on my knees…

My commentary on each: 

1. Tomlin's (worth noting that Louie Giglio is also given songwriting attribution here)  obvious intention here is to metaphorically draw the connection between never-ending rain and God's never-ending mercy. Aigner suggests this is a weak metaphor but I've never heard of anyone using a water metaphor for God's mercy before.  I, too, wish Tomlin hadn't used a destructive force of water to describe God's mercy.
2. Criticize the guy on weak and strange metaphors, sure, but criticize him for quoting the psalmist?  No. This isn't a fair critique at all. Here's a concession critics should make: songwriters are allowed to quote scripture and not be criticized for poor poetic skills.
3. See above. I've heard the argument before that this line does not properly assign an object to the preposition whereas Paul does in his Romans text.  That might be a fair assumption but, again, Tomlin wouldn't be the first hymn writer to stretch the English language to fit a rhyme scheme or rhythmic structure. 
4. I can only imagine Aigner's frustration with this line is its imperfect rhyme structure. Ok, sure. Or maybe it's the irony of "rising" by "falling on my knees". At the skin level, the latter critique seems humorous. I think there's something beautiful, though, about drawing the connection between humility before God and rising as Christ was risen. 

Because He Is A Worship Superstar

I'm with the high and mighty idea that those who write music for the church ought to do so for the good of the church and the church alone. Their work is kingdom building work and ought to be seen as such.

But this celebrity-status isn't a new phenomenon. Do you think John Wesley wasn't a big deal? He famously learned to preach to the multitudes of people gathered from George Whitefield. American churches vowed to follow his every instructions(sort of). Isaac Watts trained pastor after pastor at his large church in London. Tomlin may be an overpaid worship superstar but he's certainly not the first and certainly won't be the last Christian celebrity.

And whose fault is it really that Tomlin's presence has the gravitas it does? Tomlin's? Or is he simply trying to make the best music he can for a modern generation? Is it the nature of us, the people, that want to celebritize everything we come into contact with?  Likely.

And before you go on pointing to the "showy" nature of modern worship music as the reason for this, I'd like to point to this, a church organist competition (utilizing the playing of hymns) with a cash prize. So maybe, just maybe, let's step off that high horse for just a second. After all, a quick Google search of Jonathan Aigner's name returns a few professionally-shot-in-a-church promotional head shots. Speck, meet log.

Aigner thinks it right and proper to criticize the work of the church so as to make it better. I'm with him. But these types of critiques of the modern worship world cannot be generalized, must be factually accurate, and ought to be approached with humility. It's only in that moment that we'll actually make any progress as a church and enable ourselves to speak to generations to come. 

-B

Change, Community, Communion, and Curation

It often seems unnecessarily radical to change one's ways of doing things.  When systematic ways are changed, either by brute force or previous failure, many many react negatively.  This is happening in Congress as the GOP-controlled House fights against the already-lawful-and-upheld-by-the-Supreme-Court-as-constitutional Affordable Care Act (Obamacare). It's something different, very different, being treated with hostility because of its difference and perceived (and somewhat realistic) hardships.  

Difference and change are difficult for so many to comprehend.

There are viable reasons for this. Many arguments made against Obamacare are valid and backed up by numbers and inevitable cost to typical Americans. In many ways Obama will take more money from each American in order to make health insurance for all Americans a reality.  It is very different from how America has traditionally treated her citizens since her beginning.  Valid concerns are heard, but change keeps on trucking.

The thing about change, historically, is that it is easily delayed but essentially unavoidable.  It only can be re-steered to go in the "proper" direction. Change is inevitable; direction of that change is somewhat controllable.

[Quick change of scene.] 

As a United Methodist, I have a common joke I make about our church: we are always 20 years behind.  It's only a joke but it strikes a strong chord on the reality guitar.  Take contemporary worship music for example.  Simply put, the United Methodist Church, for better or for worse, ignored the contemporary worship scene for years upon years.  "Contemporary" worship music pushed through the evangelical and hippie-ish movements in the late 60s and early 70s and began to refine itself in the mid-late 80s and early 90s.  Evangelical churches (read: non-United Methodist churches) were often the first to jump on board.  There might be many reasons for this, of which the fact that many of those churches do not submit to any larger governing body ought to be at the top, but evangelical churches by and large beat Methodists to this punch. United Methodists have moaned and groaned about how badly the music is written and how non-theological the lyricism is ever since, but the general public has seen some churches grow and some die.  United Methodist churches have been on the dying side of things far too often.

We are late to the game and they seem to be "winning." How to combat this then? Well, of course: We have to raise our numbers so that our church doesn't die! We must start a contemporary worship service! How then do we do that?  Well let's look at some resources.  Where are these resources?  Oh great, there are tons of resources available!  There is tons of music available! Who is providing this music? Oh! The Evangelicals. Great!  Let's hire a worship leader!  Great! Most of the good worship leaders are at the evangelical churches, so we'll get the pretty-good ones.  They should be able to lead the United Methodist Church into the next generation of worship! Great! This is going to be so great! 

And, what do we end up with?  We end up with a church whose tradition of well-written, theological singing is nearly lost because in the switch to the new medium/genre, we picked up someone else's tradition and theology simply because it was already there for us. We blindly took the cookie left for us without considering the consequences. Change came and we got on board and took the road-too-often-traveled without considering where it was taking us.

20 years behind, then, may mean that we need to curate a bit more than we'd expect.  What's the trade-off of simply using someone else's work?  What's the trade-off for our congregations and disciple-building? Have we fully examined this change, its constant insistence upon itself, and where our destination lies?

The same has happened in online communities.  Online communities, if you can believe it, are old now.  They began, essentially, with the advent of email and have continued to be refined and refined over time. What one sees in Facebook, and all Facebook is meant to be, is simply and refinement (albeit a very well done refinement with its share of quality innovations) of the original idea of communicating and communing online. Online communities may seem like a new thing to people (and maybe especially to United Methodists) but they're simply not.  Hey, United Methodists, you're late again.

And so we pick up where we left off. Many non-UMC churches are offering well-done online churches in which a church attendee can log on, converse with a online pastor, watch the worship service, and even pray online with the guidance of the pastor.  The difference is, of course, one doesn't feel the pastor's hand on your back as you pray; she's generally miles away from you.  This sort of idea isn't new, it's simply new to United Methodists.  A popular church in Florida is doing just that (a high school friend of mine is heading it up...you can check it out at www.engagemenow.net).  

The new conversation (happening right now in Nashville, TN) is whether or not United Methodists ought to offer the sacrament of Holy Communion over the internet.  Practically speaking, it's exactly as it sounds.  The viewer (and I use that term intentionally) provides their own bread and grape juice (or wine), while the pastor blesses the elements through your computer or TV screen.  It's along the same lines as that pastor praying over you but without being able to physically feel their presence...except it's with the sacrament of communion.

Perhaps this is an controversial concept to speak about because many of the other churches don't hold communion (Eucharist) in the same regard as United Methodists (or, if we're speaking honestly, maybe many of them actually hold it in HIGHER regard simply due to their insistence on the frequency of participation in Eucharist) . In other words, maybe Methodists are trying to graft United Methodism onto a medium and evangelism technique that someone else, someone different than us, already created. The difference is that the penalty for moving in that direction on that road of change is a loss of traditional practice that has been important to Methodism. In my mind, it's not much different than us trying to sing that one song and trying to change the lyrics because the song is so...like...Calvinist. We couldn't write a comparable one!  We just have to graft Wesleyan theology onto whatever trends come because we were late to the game and not innovative enough to pull ourselves out of the hole.

Goodbye, Wesleyan sense of community.  Goodbye, Wesleyan understanding of Jesus's presence in the Eucharist and the necessity of physicality for incarnation to be experienced.  Goodbye, sung Wesleyan theology with an emphasis on the unending and unchanging love and grace of God. 

I'll maintain until I die that change is inevitable and good in this world.  But, change comes with responsibility.  Change comes with the need for curation.  Change also comes with the need for innovation and outside-of-the-box mentalities. And, while all those seem so poorly connected, it is indeed necessary that they all work together cohesively so that the good parts of what we have are not lost. The danger of Calvinistic theology creeping into Wesleyan churches--even if only through the music--is, and has been, upon us.  The danger of cultural definitions of "community" and "experience" is creeping in on us and our livelihood is at stake.

Online communities are coming.  The challenge and calling is there for churches to attend to.  People want religion and they want to be online.  Ignoring it seems silly and simply jumping on the bandwagon blindly seems sillier. Change is necessary and inevitable.  Curation and innovation are necessary and often forgotten.

Let us not be so persuaded by a new movement that we forget who we are.  Maybe, just maybe, we can feed a need within our society in a new and better way.

-B

Contemporary Worship Music: Unintentional Ecumenism

ec·u·men·i·cal

adjective

1. general; universal.

2. pertaining to the whole Christian church.

3. promoting or fostering Christian unity throughout the world.

4. of or pertaining to a movement (ecumenical movement), especially among Protestant groups since the 1800s, aimedat achieving universal Christian unity and church unionthrough international interdenominational organizations thatcooperate on matters of mutual concern.

5. interreligious or interdenominational: an ecumenicalmarriage.

In the United Methodist Church, we have a hymnal.  Every 20 years or so another one pops up, with great new hymns,  great old hymns, and...unfortunately...some of the same old, really bad hymns.  The church is trying to be 'progressive' (whatever that means), so we have seen little books like 'The Faith We Sing' and 'Worship and Song' pop up as well.  These are the technologically limited offerings aimed at keeping up with the rapid rate of song creation in the Church these days.  'Worship and Song,' printed last year, has only now included "How Great is Our God" and "Open the Eyes of My Heart" (Open the Eyes of My Heart was written in 1997, How Great is Our God in 2004).

When I purchased my copy of 'Worship and Song' at Cokesbury, the sales associate told me that this was the "first expandable hymnal!"  I asked her how the binding to the book played a role in its expandability and she gave me the scrunched-nose face. Technologically, these books have been limited.

Interestingly enough, in some Christian circles, this technological barrier has played a huge role in keeping the churches singing the same songs they've been singing for ages. In others, they have ignored the technological implications completely.  Many Christians are growing up in church environments (that alone is something to celebrate) and do not realize that Christians used to sing songs out of books that they held in their hands instead of on screens (I'll let you decide whether or not that is something to celebrate).

Long story short: music in the Church is rapidly changing.  Some people are changing it, some are avoiding it.  Others, like the United Methodist Church in large part, avoided it for 20 years or so and are just now trying to catch up. The last category of churches feel a little like RIM and Nokia do now when it comes to smart phones:  late to the game inevitably will hurt, no matter your customer loyalty.

Not long ago I presented a hymnal to a student of mine on which her name was imprinted.  I said to her, "These are the songs of our tradition." Ever since that moment, I've been thinking about what I meant by that statement.  Did I mean that these are the ONLY songs of our tradition?  Did I mean that these are the songs our of tradition and OUR TRADITION alone?  What is it that I meant?  Does that make the songs outside of our hymnal NOT part of our tradition?

In seminary we talk a lot about the music we sing being formative for the Christian journey.  We sing songs pertinent to the liturgical context we are in, usually having something to do with the morning's message.  We pride ourselves: the hymns we sing aren't, and shouldn't be, fluff.

In fact, the United Methodist Church has something going for it here.  Charles Wesley, brother to John Wesley and co-founder of the Methodist movement in England, wrote hundreds of poems.  As the search for a 'Wesleyan' identity is set before us in the UMC, a return to Charles's lyrics are usually appreciated.  Whenever I bring the topic up in UMC circles, eyes light up.  "Yes! That's the way it should be!" they seem to say.  Methodism was blessed from its beginnings with theologically based hymns and Methodists far and wide don't want to lose that.

This isn't the whole story though.  We sing songs every Sunday in Methodist Churches that were written by non-Methodist writers. Heck, we sing songs in church on Sundays that were written by the Gaithers.  We sing songs written by Calvinist predestinarians.  We sing all kinds of music in the UMC, no matter how much we pride ourselves in being 'Wesleyan.'

I was thinking about all of this, trying to put these pieces together in my head, so that I could sort out the proper course of action. Then I had this thought: We're not seeing this hangup with many who are writing music for the masses today.

No, in fact, these hangups of being strictly 'Wesleyan' don't matter to many.  The people who are constantly writing new, exciting, progressive, worship music are largely from non-denominational churches. These churches usually have some sort of vague mission statement and clearly defining themselves is not something they do!  The popular people writing music these days for the 'contemporary worship' setting are largely tied to movements.  Is Hillsong a movement or a church?  Yes.  Is Passion a movement or a church?  Yes.  What do these movements do? A little bit of everything.  Many of these groups don't even use the word "church." Being sticklers for quality, theologically sound music is simply not a priority.  They want music that is exciting and engaging, and the lyrical composition can be what it is.

The question then becomes: is the work coming out of these 'movements' unifying the church at all?  In other words, if those producing material are not hung up on staying true to their founders, are they free to write music that spans across denominational barriers? Are these songs acting, whether intended for it or not, as a form of ecumenism?

These songs, those written within the past 20 years for 'contemporary' worship environments are criticized all the time for being too "simplistic" or "shallow" in their theology. But it occurs to me that this  very criticism might actually be what makes these songs work across the barriers.  Charles Wesley wrote songs that were deeply explicit in their lyrics, calling out church heretics, heretical leanings, and teachings that were against his views of Christianity.  He even, from time to time, called out people by name.

We simply aren't seeing this in today's music.  We're singing statements about loving Jesus, about Jesus rising from the dead, and Jesus saving us.  While they might still be criticized for aligning themselves with Jesus and little else of the Trinity, these are overarching statements that don't necessarily apply to any specific denomination or tradition.

It seems to me that it is BECAUSE of the more universal nature of the lyrics within recent songwriting that these songs are becoming forms of ecumenism.  These songs are popular, easy to sing (choruses and refrains repeat constantly) and when played well, tug at the emotions of those singing them.  In a sense, these songs are unifying the church.  These songs are played in Baptist churches, Methodist churches, Presbyterian churches, Catholic churches, Lutheran churches, and most prominently in non-denominational churches far and wide.

So, are they unifying? Yeah, I guess, in a way they are.  These songs are being sung all over, much like hymns like "Holy, Holy, Holy" "It Is Well" and "Come Thou Fount" were before.  Generalized lyrics and easy to sing melodies.  They surpass and tear down walls of division that have been placed there by theological and political arguments for 2000 years. To me, it's an interesting phenomenon.

See, the technological barriers of printing books has kept many denominations and generations infused with the idea that if it's not in our hymnal, it's no good.  This has allowed for boards and agencies to curate the contents of our singing, too.  But, these groups that work past those technological barriers (we don't print books anymore), are able to stretch beyond that. And, because of that freedom, they've explored new realms of communal singing.

The interesting question is, what if true, studied theologians had done this rather than the guy down the street who played guitar?  Would that have changed the outcome?  Could we have had a more universal set of songs that were ALSO theologically grounded?  I don't think so.  I think the "shallowness" of much of what we see set to worship music today should get credit for helping me attend a non-denominational service and know the music.

Contemporary worship style gets a lot of crap for the way in which it exists. All I'm saying is that its music (one of the biggest reasons it has been successful) deserves a look. A critique, too, perhaps.  But, definitely, a look.

Just some random thoughts.

-B