I have been blessed to either lead worship myself, or as a part of a church music staff, almost every Sunday since January, 1985. It's been a rich blessing in my life. Over these 26 years and counting, much has changed. One of the healthiest changes I've observed has been the emphasis on congregational singing as important in the worship experience. When I began, most Baptist worship services contained 2 or 3 congregational songs, and a lot of what we called "special music," presented by the choir, ensembles, or soloists. Those two worlds have merged over the years and there is a greater sense that we are "all singing together" most of the time, and I think that's more Biblical and more worshipful for all.

 

However, there are some things that have changed that are bothersome to me, and it has to do with the way people in our churches today define certain terms, namely "Worship" and "Worship Music." First - it seems that too many people use the term "worship" as simply the music in the service. I hear this in comments like "I enjoyed the worship time, as well as the sermon." Wait - the sermon is worship, too! The way we listen and engage with the Word of God is an act of worship. The preacher is offering an act of worship as he preaches. We are worshiping when we give an offering. More significantly, we are worshiping every time we serve someone, teach a class, or volunteer to help . . . the reality is that our lives - day in and day out - in our homes, at the school or the office - should be seen as acts of worship as we seek to honor God.

 

Secondly, the idea of "Worship Music" as a separate category of music seems limiting. Most of today's congregations would not hear the music of J.S. Bach and call it worship music - but it is! It was written for his church, and inscribed with the  term "SOLI DEO GLORIA" at the end of each composition - "To God Alone Be Glory." Bach was a committed Christian, offering his genius musical gifts as acts of worship to God. It may not sound like "worship music" to most, but it is.

 

Those who prefer contemporary expressions like to label the latest Christian music as "worship music." Those who grew up singing hymns and gospel songs often believe that traditional music is the only appropriate "worship music." I've heard a lot from both groups through the years. It's ironic how intolerant some can be of the other - all in the name of "worship" . . .

 

My view is that God is too big and too wonderful to be limited by our personal preferences and categories. I have been moved to worship God by all kinds of music - even secular songs that spoke truth to me, or orchestral symphonies that remind me of the beauty and majesty of God. The challenge is to find things that are appropriate, effective, and Biblical, and use them in the right context, for the right purpose, with the right spirit. There is no one, exact worship style that is correct for all congregations. Churches are unique, just like people - with their own histories, traditions, and personalities. Our challenge is to always seek the Lord to find the musical expressions that minister to all of our people, as well as insure that we are relevant and effective in reaching out to our community with the Gospel. The spirit of worship that comes from our hearts is a far more critical issue than the style of music we sing.

 

Romans 12:1 says it this way:

I urge you, brothers and sisters, in view of God's mercy, to offer your bodies as a living sacrifice, holy and pleasing to God--this is your true and proper worship.

 

Jesus, in John chapter 4 gives us more insight into authentic worship:

Yet a time is coming and has now come when the true worshipers will worship the Father in the Spirit and in truth, for they are the kind of worshipers the Father seeks. God is spirit, and his worshipers must worship in the Spirit and in truth.

 

Musical style and the whole over-emphasis on what is called "worship music" is less important, in God's view, than the condition and motive of our hearts.  

 

Here are a couple of blog posts from some familiar faces that delve further into these issues . . .

 

From Mike Harland

 

From Pastor Brent Taylor

 

 

 

 

The Spring of 2011 will certainly be a memorable one for the Fergusons.

In addition to crazy hail storms and tornadoes, we have enjoyed the wonderful experience of EASTER @ THE FIELDS, as well as, one week later, Jennifer slipping and falling while cleaning the kitchen, causing a small fracture in her tibia bone. She is now in the middle of 6 weeks of crutches and wheelchairs as she is not supposed to put any weight on her right leg. This has resulted in us spending a lot more time together as I help her with tasks she normally just takes care of that I know little about. In general, we're just together a whole lot more each day, and that has been a good thing! She's ready to be past the inconvenience, but we are grateful to have avoided surgery.

The most memorable of our family events this Spring would have to be the UIL - 4A One Act Play State Meet held on the campus of the University of Texas in Austin on May 10. If you are unfamiliar with the Texas public schools' One Act Play competition, it's helpful to know that it is the largest scholastic theatrical play festival in the world (of course, I mean - it's Texas!) The bottom line is that THOUSANDS of schools compete across the state. You have to advance through four levels of competition to reach the state level. At each level, two "advancing" or winning plays are selected, and there are individual awards given for Best Actor, Best Actress, and an 8 member All-Star Cast, as well as Honorable Mention 8 member All- Star Cast. The plays are almost always "cuttings" or selected scenes from a longer play, edited down to a strict 40 minute playing time. Thus, at the competition, you will see from 4-8 plays in a day or evening, each 40 minutes long, or less. Or, they better be less than 40 minutes, or you are disqualified.

That's my story...

I was an avid high school theater actor, participating in most of the same activities Mitchell and Michael engage in - but oh so many years ago! In 1984, my senior year, R.L Turner's One Act Play version of THE IMPORTANCE OF BEING EARNEST was dominating the early rounds of competition in One Act Play. We had been an "up and coming" program the prior two years with a talented, young director, Anne Poyner, who took the reigns in 1981 and we started getting good - fast. This particular year we had surged past the usual winning schools and were flying high heading into the Regional Competition, which qualifies for State. The Regional round was held across the street from where I'm sitting - at Newman Smith High School. We went into the competition believing we had a good shot at getting to State - the ultimate goal. Our show was raucously funny, and never funnier than that particular day. Maybe it was too funny and we had to hold for too much laughter . . . we ran 40 minutes and 38 seconds - overtime.

I remember coming off the stage exhilarated by the performance and the audience's response. I was looking for our director to get her reaction, but she was nowhere to be found. We got busy striking the set - it has to be done in seven minutes - and then I saw her in the hallway. She looked like she had just been informed about a death in her immediate family. In a sense, she had been. Our dream had died, and we were a close- knit family as cast and crew. Our show was automatically disqualified for going overtime and was ineligible for any awards. It was devastating. Lots of tears and the inevitable "Why?" questions followed, but there were no good answers. Oddly enough, our judge that day ended up being my college theater director at Dallas Baptist University. He confirmed with me what a difficult situation it was - we were clearly the best show that day. He also let me know that I was NOT his choice for Best Actor that day - my counterpart, Algernon, played by Lee Kalantzis, was his choice, but it was all for naught. My close friend Anne Poyner has gone on to win many New Jersey "Rising Star" awards in Summit, New Jersey, a suburb of Manhattan, for her outstanding high school musicals, so she has more than exorcised the ghost of our 1984 One Act Play, but we still remember the way we felt that day.

Here's a funny fact - As Jack, I had the last line in the play - "I've now realized for the first time in my life the the vital Importance of Being Earnest." I've often wondered through the last 27 years if I cost us the win as I "milked" the ending, but even I have trouble stretching that line out to 38 seconds! So, I choose to believe it was because we were just too, too funny.

May 10, 2011 - Carrollton's Creekview High School, a dominant force in One Act Play, having advanced to State 11 of the 13 years they have been in existence, and winning the State Contest in 2001, is presenting DEATH OF A SALESMAN as their One Act Play entry. Mitchell is playing Willy Loman, the Salesman of the title, Michael is playing his brother, Ben - a character who is either real or imagined, no one is really sure, except Arthur Miller and he never revealed his idea on that before hsi death.

Leading up to this day, Creekview has been rolling over everyone, winning many acting awards each round. Mitchell has been named Best Actor at ALL FOUR PRIOR ROUNDS. Understand, this was not expected, as it's very unusual, but his strong performance in such a difficult role impressed the judges at each round. Mitchell had already eclipsed his dad many times over by performing at the State meet the last two years, and being named to the All-Star Cast. However, it had been disappointing not to win. While we were afraid to say it, we felt like this was our year . . . but you never know - it's all up to ONE critic judge.

The performances that day were all very good - some excellent - but Creekview was clearly the best of the eight shows. There was a palpable intensity in the huge Bass Hall as the show reached the end, and Mitchell gave his final, emotional, heart-breaking speech. I think everyone in the theater knew that Creekview should win, and that whoever played Willy Loman was indeed the Best Actor - but I tried to ignore my gut and prepare for disappointment. My good friend, John Mathews, who had driven the truck for Creekview, wouldn't have it - he was CONVINCED we would win and that Mitchell would be not only Best Actor, but named the best overall performer, which is named after the play publisher - the Samuel French Award. John repeated this to me all day long.

He was right.

Just after midnight, now May 11, 2011, the results were announced. They announce in the following order - Honorable Mention All-Star Cast, All Star Cast, Best Actress, Best Actor . . . it was like the Miss America results in that once a few of the stronger candidates are named, and you are not yet named, you begin to figure it out. Mitchell wins Best Actor and the Samuel French Award and Creekview wins State. The emotions Jennifer and I felt were surprisingly muted. It was more relief than anything else, because our hopes and expectations were so high.

Of course, the real "reward" that comes from these activities is not the one you receive that particular day, but the lessons you learn from them and where they ultimately take you in life. I learned that there can always be a new beginning after failure, after "blowing it big time." In fact, I've learned that lesson more than once in the last 27 years . . . My prayer for Mitchell is that he can keep his remarkable success in the proper context - humbly grateful to God for the opportunities and talent he's been given, and seeking God's will as to how and where he can best develop and use his sizeable talents to touch the world as he makes choices regarding college and career . . . in just a few days, he will officially be a Senior . . . (lump in throat)

By the way, I timed Creekview's show at State . . . 39:42

For some photos related to this entry, click Spring 2011.pdf