What About Music?
Another practical question I am often asked to address involves the worship ser vice and, more specifically, how to incorporate various musical genres in order to accommodate the diverse preferences of people attending. Before speaking to these considerations, however, I suggest first and foremost that leaders address attitudes within their congregation. Below, then, are three common responses I return to time and time again in helping diverse people gain a more holistic perspective of who we are and to whom we are responsible. Each is rhetorical in nature, with a bit of sarcasm thrown in to further make the point ...
- “Where in the Bible does it say it’s about what you want or what you like?”
- “I thought we are supposed to align the church with Christ’s agenda, not to align the church with our own.”1
- “Church shopping? You mean, looking for the best deals and what’s in it for me?”
Of course, I do not mean to be flippant or disrespectful in speaking to anyone along these lines. Yet it is important to adjust attitudes from time to time or to remind the church to whom it answers and belongs — namely, Jesus Christ. Once attitudes are aligned (Phil. 2:4), there are many other ways in which we can go on to address the challenge of corporate worship. Through the years at Mosaic, however, we have followed one of these three basic approaches:
- Blended Sets. This first approach seeks to incorporate a variety of musical genres within one ser vice. And when done with excellence, this approach provides a wonderful reflection of the people and passion of churches such as Mosaic. Unfortunately, we have found it takes a great deal of time, talent, and tweaking to produce a diverse pallet of sound and song without disrupting the flow of worship or appearing too agenda driven. Blended worship sets can sometimes seem choppy and contrived if you do not have time and talent to pull it off naturally. Typically, we employ this first option only for our bigger services such as those during the Easter or Christmas seasons.
- Weekly Rotations. This next approach relies upon the development of several different stylistic variations and upon worship leaders willing to rotate throughout each month on a weekly basis. For example, on the first Sunday of the month, we might provide a gospel music set, followed the next week by a more guitar-driven sound. On the third week, a choir might sing, while on the fourth week, songs might be sung in Spanish and the music played with a Latin feel. In addition, it can be both fun and refreshing to mix singers and musicians in such a way that they expand their own understanding of worship, and they will often appreciate the opportunity to try something new. At Mosaic, our choir does sing on the third Sunday of every month. However, the rest of the weeks are largely determined by who is or is not available to lead, play, and sing on any given Sunday morning.
- Major-minor Sets. This third approach is the one we typically employ at Mosaic from week to week, and in one sense it offers the best of both worlds. Assuming that we have room for five songs in the ser vice, three or four of them will be led by one worship leader and come from the musical genre that best matches his or her strengths and passions. At another point in the ser vice, we will incorporate a second person leading out in an entirely different style. More often than not, the two leaders will be different ethnically, providing visitors a better sense of the vision and values that inform the church. In this way, we maintain a natural sense of flow and a spirit of authenticity in our music, while still promoting a spirit of inclusion before the congregation.
Of course, the worship ser vice is much more than just the music we sing. We also incorporate diversity within our preaching team and in the other elements of the ser vice. For example, if Anthony Hendricks (an African American and one of our campus/teaching pastors) is preaching on a given Sunday, Harry Li (who is Asian American) might lead communion, and I (who am white) will do the announcements. You get the picture.
Beyond the Music
Concerning the worship ser vice, we also recognize or celebrate (when appropriate) a variety of ethnic-specific holidays on Sunday mornings throughout the calendar year, whether they are civic in nature or more specifically rooted in one culture or another. For instance, in 2009 Mosaic observed Black History Month and on one particular Sunday replayed a popular video of world-renowned recording artist Wintley Phipps, an African American. On the video, Phipps tells the story and origin of the song “Amazing Grace” and of its composer, John Newton. Before becoming a Christian, Newton was the captain of a slave ship. According to Phipps, many believe that he penned the words to “Amazing Grace” as he listened to the sorrowful chants emanating from the belly of his ship — the tune being sung (or moaned) by the slaves he was transporting around the world. In the video, Phipps points out that in most hymnals, “Amazing Grace” is attributed to “unknown” (symbolic of so many who lost their identities in the scourge of slavery) and that, ironically, the song can be played by using only the black keys on a piano. According to author Rick Payne, these notes represent the pentatonic scale that “is not unique to western musical tradition. Similar scales exist in parts of Africa, and it is fair to assume they would have arrived with the slaves well before the birth of the blues. These pentatonic notes were somehow stressed [over time] into what we call blue notes [today].”2
Learning the powerful history behind this popular song, and the tenor (no pun intended) in which the song is delivered on the video, cut to the heart of all those in attendance that day. Therefore, when you are considering ethnic-specific holidays, don’t be afraid to incorporate elements like these into Sunday worship. Sure, you may be accused of pandering to the politically correct cause, but since every nation, tribe, people, and language will be represented before the throne one day — and, I might add, worshiping God with one voice (Rev. 7:9 –10) — remind your critics that it doesn’t hurt to begin getting to know about one another and together start singing his praises now!
One final note (okay, pun intended) here. Translating all of your worship resources into one or more languages requires a good bit of administration and attention to detail, and the task can be overwhelming. In our case, every sermon slide, every lyric projected on the screens, and every bulletin or handout has to be translated into Spanish. Why? For one reason: it provides a living illustration of what the apostle Paul teaches us in 1 Corinthians 9:19 – 23. By providing translation ser vices, we who speak English become servants to our Hispanic neighbors so that we might win them all the more! Through the years, we have lost count of how many Central and South American brothers and sisters have been won to Christ through the ministry of Mosaic, but I believe it has been a significant number. And our Latino/Hispanic community appreciates these gestures, both our respect for and commitment to their culture.
In the end, don’t be afraid to ask questions that will help you learn what helps or hinders diverse people in their worship. Read books to educate yourself so that you can better understand another’s cultural perspective. And, most important, have fun in the process!
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1 - For more as to why you should and how you can eff ectively reconfigure the self-centered mindsets of people attempting to impose their own preferences for music upon the whole, see Building a Healthy Multi-ethnic Church, chapter 9.
2 - This quote was taken from an online article at www.guitarnoise.com/lesson/pentatonic-blues-origins/ and adapted from a course developed by Rick Payne titled “Pentatonic to the Blues,” one of the in-depth acoustic guitar courses you get when you subscribe to The Acoustic Guitar Workshop. Pick up your old Ovation and check it out at www.acousticguitarworkshop.com. (April 30, 2009)
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