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Album Review – Shane & Shane, “Hymns, Volume 1”

The Context

While in the midst of the regular production of arrangements of songs for worship through The Worship Initiative, Shane & Shane have taken a break to record an album of re-arranged hymns under their own banner. Shane Barnard and Shane Everett are prolific songwriters in their own right, with over a dozen albums to their credit, but over the last several years they have focused their efforts on songs for the evangelical church by releasing rearranged songs and musician tutorial videos through The Worship Initiative. This “Hymns” album is released under their name, but with clear influence of their work in The Worship Initiative.

 

The Content

“Hymns Volume 1” contains five “classic” hymns from the 19th-20th centuries, and five hymns from the 21st century. Of the five classics, three of them have newly-written refrains or “choruses.” This is a common songwriting element for re-arranged or re-tuned hymns, and is certainly a debatable practice, especially when a hymn already contains a refrain. Three of the new hymns are penned by Keith Getty, illustrating the growing connections between songwriters in the conservative, evangelical network. All 10 of the recorded songs have a very similar dynamic range and instrumentation comprised of guitars, pianos, drums, and ambient sounds elicited from all of the above. No song is less than 4:40, with lots of instrumental space serving as connective tissue for the vocal parts. The songs flow into one another as if the whole album is a “worship set,” and each hymn is slowed down from its original tempo (some considerably so), which leads to a listening experience of contemplation and reflection.

 

The Conclusion

As a listening experience, this album leads those familiar with the hymns included to reflect on them differently and leads those unfamiliar with them to consider their lyrical value. The collection of songs chosen spans several generations of hymnody, unifying them with the acoustic-pop arrangements. Musically, the lack of dynamic diversity and the curious melodic choices may hinder this album from being more broadly useful for encouraging congregations to sing these hymns. Full disclosure: I am personally a fan of Shane & Shane’s music, and was a bit underwhelmed by this album from the perspective of a worship leader seeking new resources for encouraging singing in my local church.

 

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Review provided by David Calvert, who is the Creative Arts Director for Grace Community Church in rural North Carolina and a PhD graduate in Theology and Worship from Southeastern Baptist Theological Seminary.

 

Introduction

This episode is with composer, historian, and hymnologist Lim Swee Hong. Dr. Lim is the Deer Park Associate Professor of Sacred Music at Emmanuel College, and the Director of the Master of Sacred Music Program. Before joining Emmanuel on July 1, 2012, Swee Hong served as an Assistant Professor of Church Music at Baylor University, Texas.  Prior to his work at Baylor, he served as a Lecturer of Worship, Liturgy, and Music at Trinity Theological College in Singapore.

Swee Hong is widely utilized as a leader for global seminars and conferences dealing with worship and sacred music. Presently he is the Director of Research for the Hymn Society in the United States and Canada. In 2013 he served as the Co-Moderator of the Worship Committee for the 10th General Assembly of the World Council of Churches for its meeting in Busan, South Korea and was a member of the Worship Planning Committee for the 2011 Ecumenical Peace Convocation sponsored by the World Council held in Jamaica. From 2006 – 2011, he chaired the Committee on Worship and Liturgy for the World Methodist Council, designed and supervised the worship services of the 20th World Methodist Conference in Durban, South Africa.

Swee Hong holds a PhD in Liturgical Studies from Drew University, where his dissertation won the Helen LePage and William Hale Chamberlain Prize for Outstanding Dissertation. He also holds a Master of Arts in Sacred Music from Perkins School of Theology. He completed his undergraduate work in Church Music at the Asian Institute for Liturgy and Music in the Philippines. Swee Hong is well-published in global music, with his monograph, Giving Voice to Asian Christians, especially known among global musicians. He is also a prolific composer of hymnody.

 

Season 1 – Episode 3

An interview with hymn scholar Lim Swee Hong focusing on the history of praise and worship music.

 

 

Listening time: 27 minutes

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Highlights

Every age segment of the population has their own playlist.

 

Contemporary worship at its beginning were songs of the people.

 

There is now a recovery of tradition within contemporary music…That to me is exciting.

 

Charles Wesley’s ‘And Can it Be’ speaks to me about the grace and the power of God’s love.  Even I can be redeemed and that is amazing!

 

Author – Adam Perez is a doctoral student in liturgical studies at Duke Divinity School.

 

 

 

 

Worship War

There have been many varied but regular attacks posed by opponents of contemporary praise and worship since its inception in the middle of the 20th century. These attacks have been intense enough to call it a ‘worship war’–and many people have been wearing their battle fatigues to worship every Sunday for the last 25 years. ‘The lyrics are trite or too shallow, ‘the music too repetitive or boring’–or alternatively, ‘too upbeat’ or driven by rhythm (i.e., too similar to the evils of Rock music)—the list goes on. Is contemporary praise and worship a threat to the right worship of the Christian church and its hymnic/theological orthodoxy? Most recently, the critique has revolved not around musical style per se but around congregational participation. Do the speaker stacks and ‘wall of sound’ stun the congregation into silence? Do the performance practices of contemporary praise and worship hinder congregational participation rather than enliven it? Has this always been the case for contemporary praise and worship?

 

Now, I don’t consider myself an outright advocate of praise and worship, but I do consider my task to be that of dispelling myths and misunderstandings. In this post I want to suggest that, historically, contemporary praise and worship has had the opposite take on its relationship to the issue of congregational participation.

 

Dispelling Myths and Misunderstandings

The old guard of praise and worship leaders suggest that praise and worship music allows for, creates the space for, even the most unmusical of persons to be involved in musical worship, both singing and playing instruments. Whereas the text-heavy and musically-challenging hymns of old were seen as not-all-that-singable to many untrained musicians, the new, simpler song forms of praise and worship were easily taught and learned. No longer would congregational song be reserved for the specialists (whether a formal choir or the trained singer) as had developed in some circles, but it would be given back to the congregation.

No longer would congregational song be reserved for the specialists

To say that this was simply a change in musical style or in worship practice would be to understate the shift. It wasn’t a shift just in worship practice, but in the relationship between music, persons, and worship. Out of the praise and worship movement came a very important theological anthropology which holds that the core identity of Christians, writ large, is as ‘worshippers’—a trope still very common in many evangelical, charismatic, and pentecostal circles today. This theology was developed in part through a reading of scripture that linked Old Testament worship closely with music-making and was often combined with a strong eschatological vision of worship derived from the book of Revelation. To participate in the heavenly worship, one must sing and make music to the Lord. Singing wasn’t simply the act sine qua non of worship, but singing was part of becoming a right worshipper (cf. John 4:24 “God is seeking worshippers…”), and becoming a right worshipper was an essential to Christian faith and practice as a person. You can see why participation is such a critical issue for praise and worshippers–if singing and music-making were being withheld from the congregation by way of increasing musical difficulty and professionalism, a core component of Christian identity was also being withheld.

 

This two-fold shift toward making music more accessible and the musicalizing right Christian worship has had an indelible mark on Protestant worship across North America.

 

Reforms

Often without understanding the basic impulse of praise and worship, one of the primary responses to it has been, “What congregations need [to preserve certain kinds of hymnody] is better music education, not simpler music!” This response, you might recognize, is one that has spurred on educational reforms time and again in the history of church music. Inevitably, reforms of church music and practice have their upsides and their downsides regarding the question of participation. In many instances, especially in the American cultural context, various traditions have generated a subgroup of (semi-celebrity) leaders and performers to whom Americans have allowed to make music on their behalf: the choir’s cantata, the praise band’s set list, the vocalist’s sung testimony, the organist’s Fantasy on [fill in the blank]–not to mention pseudo-liturgical moments like “Special Music,” “Choral Offering,” or “Organ Preludes,” but I digress…

 

Maybe it’s a cultural thing, maybe it’s a musical thing, or maybe it’s a deeply human thing, but we love to hear expert leaders and performers regardless of our musical or liturgical traditions. And there’s probably nothing wrong with that.

 

Praise and Worship

But to return to the issue of praise and worship, it seems that the question of participation has begun to rear its head again in the 21st century as the production value of highly visible churches and events has come into question. Though praise and worship initially provided a strong response to this issue, the dissemination and development of it as a tradition has caused transformation in some arenas. We can only speculate the reasons for this, and they are surely many. Some long-time insiders suggest the song composition style is too complex, the influence of recording stars too great, the broader influence of the popular music industry, a disconnect between leaders and congregation, broadening of the teaching on the theology of praise and worship—the list goes on. So to say, yes, this tradition of music and worship may need to re-affirm its commitment to congregational participation—and it is not alone in that need.

Praise and worship is, in its heart of hearts, about and for congregational participation.

Praise and worship is, in its heart of hearts, about and for congregational participation. Though in some very visible manifestations the congregation’s participation seems to have become somewhat tempered or muted, this is not the case for all times and all places. Unfortunately, contemporary praise and worship suffers no more from the cult of celebrity in music and leadership than do many other Protestant churches, mainline or evangelical, conservative or liberal. Likewise, there is no clear correlation between a church’s musical style and the degree of participation in congregational singing, so let’s not pin the issue of participation solely on musical style alone.

 

 

Author – Adam Perez is a doctoral student in liturgical studies at Duke Divinity School.

I am going to be upfront with you that, for some, this post may contain an unwelcomed or unpopular suggestion. And I know that I kind of “missed the boat” on the timing of this post—it probably would have been more appropriate before Advent, on Christ the King. Oh, one other thing to be candid about: this is a post that is going to suggest that if you don’t already sing some praise and worship in your congregation, now might be the best time, in this month and a half-ish between Christ the King and Epiphany. In fact, I won’t be suggesting you try on just any praise and worship from the last 40 years, but what we might call “classic” praise and worship. Better yet, you’re welcome to call it “traditional” praise and worship. I’m talking about the stuff from the mid- and late-1980s, the songs that came out before CCLI was a thing and before Christian bookstores picked it up and before the CCM industry saw the market value in it. I guess you might just call it “hipster” in that way—”traditional” praise and worship was doing it before it was cool.

You might be wondering what, exactly, this so-called “traditional” praise and worship was doing? And what that non-liturgical charismatic praise and worship stuff has to do with the so-called “liturgical” calendar?

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It’s no mystery that the central themes of the Advent season revolve around waiting, anticipation, patience, preparation, and expectation. These themes are quite appropriate for this first season of the church calendar that celebrates the grand narrative of Christian hope that ended last week with Christ the King Sunday. The King has now crowned the liturgical year, and we’re back to the beginning of our story in time: Christ the King not-yet.

If your experience in congregational song is anything like mine, the deepest sense of expectation during Advent is actually for the opportunity to sing Christmas carols. Radios and shopping malls everywhere have long beat us to the punch, and it’ll be another three weeks before many communities let their O come‘s become has come’s. We (myself included) can often be quite zealous about our careful navigation of the liturgical calendar. We’ve got a cosmic story to tell and only 52ish Sundays a year to tell it, much less the four of Advent and the one Sunday after Christmas. Time is short. Choose carefully, choose wisely.

For so many, the songs themselves are the greatest reason for the season. I don’t mean to be harsh but—as you probably know from experience—no other season of the Christian year is so infused with popular demand for a certain repertoire of music. In the span of just a few days, many communities celebrate a Lessons and Carols service, Christmas Eve, Christmas Day, and the Church Christmas Pageants/musicals, not to mention all the concerts put on by schools and community organizations (also not to mention those of you who livestream musical events like those at St. Olaf College or King’s College Choir Cambridge—you know who you are).

In the midst of our waiting for this short flurry and flourish of appropriately Christmas-y repertoire, how can we infuse a deep sense of expectation for the coming of Christ himself? How can we help Advent sound its own part of the story? Do we commit to only the “traditional” Advent carols and the medieval church modes?

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Pentecostal and charismatic traditions have something to teach the rest of the church about a fervent expectation and experience of God in worship. Sure, we have had some inter-Christian disagreements about what happens when God is “manifestly” present, and that’s fair enough. But what I think we in congregational song can learn is another musical way to celebrate the basic rhythm of Christian worship in revelation and response and in expectation and fulfillment and how we might more deeply join in the palpable sense of excitement that God is truly making Godself present in our worship and in the world, and God is doing so powerfully.

One thing traditional praise and worship does well is generate a sense expectation. In fact, the expressed goal of these songs and their use in worship is to facilitate the journey from expectation to fulfillment of God’s coming in Christ through the power of the Spirit. And not with the journey itself as the goal, but the celebration of the very presence of God.

Now, if there’s one thing that I feel confident in saying that this season of Advent to Christmas is about; one thing that matters for our participation in the present portion the Christian narrative; one thing that we can hang our discipleship hats on, it’s so that we have the palpable sense of expectation that is ultimately fulfilled with an enjoyment of God’s presence in the incarnation; Emmanuel, God with us. Traditional praise and worship can help us do this well, if we give it the opportunity and take it on its own terms.

Here’s one great example: go have a look/listen at the early Integrity’s Hosanna! Music tapes from the mid 1980s—a great place to start would be the tape “All Hail King Jesus”[1] from 1985 (https://www.youtube.com/watch?v=OlAWfJl8Ljo). I mentioned in the opening that this would have been quite appropriate on Christ the King Sunday— “but wait, there’s more!”—listen to how chock-full the songs are with language of expectation directly from the Psalms and Prophets and invites our direct response to the great acts of God, especially in the person and presence of Jesus Christ. Over the course of the album, it moves from boisterous praise and confident statements of beckoning or expectation into quieter songs of response to the enthroned Jesus Christ. It’s a very cosmic—and very Advent-friendly—narrative.

Use these (or others from this repertoire), and make them your own. But also be sure to give them the space they need to do the work they were made to do. So to say, take some cues from this album as to how the performance practices might do as much work as the texts in generating a strong sense of expectation and fulfillment. The other great part about traditional praise and worship is that the instrumentation is highly adaptable. You can do it with virtually any arrangement of musicians that will suit your context and your services. Because these were originally done in orchestral settings, it makes for a much easier process of simplifying to suit your context than “complexifying” to suit. Take for example the title track mentioned above, “All Hail King Jesus” that Lifeway offers in lead sheet, chord chart, piano, vocal, and full orchestral versions (print or as digital files).[2] All very easily accessible. But don’t just do one song, do a whole set, musical transitions and all. It’s called “flow.”

All this to say: I hope we continue to reach across the musical boundaries that have grown up around us to celebrate the good in other traditions of congregational song in Christian worship by participating in them. “Traditional” praise and worship has something to offer all of us in learning how to deeply experience and rehearse the story of the coming of Christ in Advent and Christmas as more than a symbol of Christian unity, but an embodiment of it. As Rosa’s recent blog reminded us so keenly: our singing is an act of love, not just with our lips or ears but with our actions and our presence. We celebrate in sung prayer and presence as an act of love for each others’ diverse experiences of God. And all of this stems from the layers of hope, expectation, and ultimate fulfillment we find in this first season of the Christian year, and ultimately in God’s eschatological fulfillment to which the year so beautifully points.

 

[1] The title track of the album, “All Hail King Jesus” Words and music by Dave Moody. © Copyright 1978 Dayspring Music, LLC.

[2] https://www.lifewayworship.com/findAndBuy/songPage/AllHailKingJesus?versionId=90387&searchString=null#song-Parts