From Rich Theology to Emotionally Charged Shallowness: The Evolution of Worship in the Modern Church - by Publisher

Found here. Our comments in bold.

-----------------------

This is a gigantic Appeal To History based solely on the author's personal preferences. 

"Publisher," the author, neither quotes nor even cites any Bible verse. This is astounding. He presumes to evaluate the worship of people he doesn't like, who are singing songs he doesn't like in churches he doesn't like, but cannot bring himself to explain biblical precepts, let alone quote the Bible.

If the author has a biblical case, we would love to consider it, but alas, he does not. That makes this article into nothing more than an opinion screed.

Also, we want to note that the title provides a false choice. There is much contemporary worship music that is theologically rich, and there are hymns that are theologically shallow. 

Further, upon what basis should worship be about theology? There is nothing in the Bible that tells us we must sing deep theological treatises. Worship is the bowing low before a Holy God, declaring His wonders, His mighty works, and glorifying His character. We of course must be theologically accurate in this endeavor, but nothing in Scripture demands a doctrinal tour de force.

Ps. 107:1 Give thanks to the LORD, for he is good; his love endures for ever.

This simple and powerful worship statement, which does not require a Bible dictionary to decipher, was often accompanied by glorious manifestations of God's power (2Ch. 5:13, 2Ch. 20:21, 2Ch. 7:1-3). 

If it was good enough to elicit the Glory back then, we suspect that simple, honest worship should suffice today.

--------------------

The modern Evangelical church often presents what appears to be a vibrant and pulsating atmosphere, a facade brimming with the fervor of the congregation as they begin to assemble. The ambiance is thick with a sense of anticipation and expectation as the lights dim and the room is enveloped in darkness, save for a few strategically placed spotlights that cast a warm, inviting glow on the stage, illuminating the performers.

The stage is an awe-inspiring spectacle, with the lead singer, bathed in a radiant beam of light, emotively delivering the lyrics with a palpable sense of passion and conviction. The band behind him is equally mesmerizing, their fingers gracefully gliding over the strings of their instruments, creating a harmonious symphony of sound that fills the room. The stage is a marvel of modern technology, often featuring smoke machines that billow clouds of fog and a state-of-the-art sound system that immerses the listener in an auditory experience of unparalleled pleasure.

The lyrics, verse after verse of repetitive phrases, overwhelm the senses and offer the worshipper a heightened sense of euphoria that rivals the trance-like state of any Eastern mystic religion. (Hmmm. The author was doing so well up to now. But he has absolutely no idea about the emotional state of these hypothetical worshipers. With a broad brush he mischaracterizes the worship of thousands or even millions of Christians about things he cannot know.

While certainly it is true that there are people who might respond emotionally to worship, we might ask, why is this a problem? What Bible verse prohibits this? In fact, we find that our response to God must include the whole of us: 

Mk. 12:30 Love the Lord your God with all your heart and with all your soul and with all your mind and with all your strength. 

There was a woman who worshiped Jesus with deep emotion:

Lk. 7:37-18 When a woman who had lived a sinful life in that town learned that Jesus was eating at the Pharisee’s house, she brought an alabaster jar of perfume, 38 and as she stood behind him at his feet weeping, she began to wet his feet with her tears. Then she wiped them with her hair, kissed them and poured perfume on them.

And how did Jesus express Himself to His father?

He. 5:7 During the days of Jesus’ life on earth, he offered up prayers and petitions with loud cries and tears to the one who could save him from death, and he was heard because of his reverent submission.

And for the other side of the emotional spectrum:

Ps. 66:1-2 Shout with joy to God, all the earth! 2 Sing the glory of his name; make his praise glorious!

Ps. 100:2 Worship the LORD with gladness; come before him with joyful songs.

Ps. 126:3 The LORD has done great things for us, and we are filled with joy.

Ps. 149:3 Let them praise his name with dancing and make music to him with tambourine and harp.

The author is tragically wrong.

Lastly, if people are indeed entering a trance-like state, this might be a problem. But the problem is not with the church or the music, it is with the person engaging in the behavior.) 

This raises the question: is this form of worship biblical? (How would we know, since the author will never quote the Bible?)

Should our worship be characterized by shallow lyrics, (Non sequitur. The author introduces a concept not previously mentioned. All of the above-cited conditions might exist in a church worship service, without shallow lyrics.)

chord structures that elicit heightened emotions, (All chord structures and all music impact the emotions.)

and an atmosphere no different from a rave concert? (Um, not quite. A rave (from the verb: to rave) is a dance party at a warehouse, club, or other public or private venue, typically featuring performances by DJs playing electronic dance music. We doubt there are many churches that are like rave concerts. 

But we wonder, what again is the problem? So far, it's been a matter of style, not substance. If a church has a flavor that appeals to a certain demographic, then it should be able to embrace its ministry and calling to those who would not identify with three hymns and a sermon.)

For two millennia, the Church has anchored its worship in the unshakable foundation of the Word of God. (Appeal To History. The traditional practices of the historic church has nothing to do with the biblical case.)

From the Psalms, ancient hymns of praise and thanksgiving, to the doxologies found throughout the Old and New Testaments, the eternal truths of scripture have always been the bedrock upon which the Church’s worship has been built. (We thought the church was to be built upon the foundation of the prophets and apostles with Jesus as the cornerstone.)

Until recent history, the hymns of the Church were crafted by theologians who possessed a deep understanding of scripture and applied its teachings with precision and care to the lyrics they composed. (Only theologians should write worship music...)

These hymns, steeped in scriptural truth and written by theologians of great renown, have stood the test of time and have been passed down through generations. (Beholden to nothing more than tradition and his own taste, the author proclaims that the music from hundreds of years ago is the only good music.)

Hymns such as “Rock of Ages” written by Augustus Toplady (Here are the lyrics:

Rock of Ages, cleft for me, 

Let me hide myself in Thee;
Let the water and the blood, 

From Thy wounded side which flowed,
Be of sin the double cure, 

Save from wrath and make me pure.

Not the labor of my hands 

Can fulfill Thy law’s demands;
Could my zeal no respite know, 

Could my tears forever flow,
All for sin could not atone; 

Thou must save, and Thou alone.

Nothing in my hand I bring, 

Simply to Thy cross I cling;
Naked, come to Thee for dress; 

Helpless, look to Thee for grace;
Foul, I to the fountain fly; 

Wash me, Savior, or I die.

While I draw this fleeting breath, 

When my eyes shall close in death,
When I rise to worlds unknown, 

And behold Thee on Thy throne,
Rock of Ages, cleft for me, 

Let me hide myself in Thee.

The author has previously complained about modern worship songs being focused on self. So, how does Rock Of Ages do in this regard? Well, 18 self-referents. 

How about doctrine? Aren't we already washed from our sins by the blood of the Lamb? So why would we sing Wash me, Savior, or I die? Really, is Toplady writing from the perspective of a saved person glorifying God, or from a sinner desperately pleading to get saved?

We also note there is no expression of worship to God. By any standard, this is a troubling song.)

and “Amazing Grace” by John Newton, are prime examples of the theological depth and insight that characterized the hymns of the Church. (Here are the lyrics:

Amazing grace, How sweet the sound,
That saved a wretch like me.
I once was lost, but now I am found, 

Was blind, but now I see.

'Twas grace that taught my heart to fear, 

And grace my fears relieved.
How precious did that grace appear 

The hour I first believed.

Through many dangers, toils and snares 

I have already come,
'Tis grace has brought me safe thus far 

And grace will lead me home.

The Lord has promised good to me 

His word my hope secures;
He will my shield and portion be, 

As long as life endures.

11 self-referents. Plus, according to our own standards of worship, worship songs should be sung to God, extolling Him, declaring His greatness, and expressing thankfulness. To Him, not to other people.

These are the two hymns named by the author as examples of proper worship. Hmmm.)

For example, Augustus Toplady’s “Rock of Ages” is a powerful hymn that speaks of the unshakable foundation of salvation in Jesus Christ. (Well, no. It seems like the lyrics are an appeal to God to secure the person into Christ.)

The lyrics, rich in scriptural allusions, speak of the believer’s unwavering trust in the “Rock of Ages”, a clear reference to Christ as the cornerstone of salvation. Toplady’s hymn is a poignant reminder of the believer’s dependence on Jesus for salvation and the unshakable nature of that salvation. Similarly, John Newton’s “Amazing Grace” is a hymn that speaks of the wonder of God’s grace and the transformation it brings to the believer’s life. These lyrics, written by a former slave trader who was transformed by the grace of God, like even the Apostle Paul who persecuted the Church with a vengeance declaring himself to be the chiefest of sinners, are a powerful testimony to the transformative power of God’s grace. The hymn reminds us of the depths of our depravity and the heights of God’s mercy, encouraging us to sing “Amazing grace, how sweet the sound, that saved a wretch like me!” (So it's simply a matter of taste, it seems.)

These hymns, and countless others like them, have been a source of inspiration and edification for the Church for centuries. They are hymns that are rich in scriptural truth, written by theologians who understood scripture and applied it correctly to the lyrics they wrote. They have stood the test of time and have been passed down through generations, providing a source of comfort, guidance, and inspiration for the Church. (Yes, yes, hymns are great. No one disagrees.)

Today, it is unfortunate to observe that many churches have made the lamentable decision to forsake the theologically rich hymns that have been passed down through generations and have the power to imbue the faithful with a deeper understanding of God, His nature, and His ways. They have been replaced with emotionally charged and shallow songs (The author makes the same claim again, with no examples.)

that promote a self-centered theology, (Irony alert.)

rather than one that is centered on the glory of God. (Double irony alert.)

These contemporary worship songs, often written by modern songwriters who may not possess the same depth of understanding of scripture or theology, fail to provide the same richness and profundity as the traditional hymns.

Many of these traditional hymns that few churches today continue to honor are steeped in scriptural truth and written by theologians of great renown (Neither Agustus Toplady nor John Newton [the author of Amazing Grace] were theologians.)

and have stood the test of time, being passed down through generations. (Yes, yes, yes. The author likes hymns. Move on.)

They have been a source of inspiration, guidance, and comfort for the Church, providing a deeper understanding of God and His precepts. (Extra-biblical revelation...)

These hymns, with their complex and elevated theological and doxological language, serve as a fitting tribute to the majesty and glory of God and are more fitting for the purpose of worship. (According to the author's tastes...)

In forsaking these traditional hymns, many churches have lost an important aspect of worship that helps to cultivate a stronger relationship with Him through the truths derived from His own words expressed back to Him in song and worship. This is not inconsequential, for the Church needs to remember the importance of sound doctrine and a reverent posture in worship (Emotional response...)

and to strive to remember that worship is not about us, but about the glory of God alone. (Irony alert.)