LIBERTY UNIVERSITY
SCHOOL OF MUSIC
Lim and Ruth Book Critique
Submitted to Dr. Rodney D. Whaley
in partial fulfillment of the requirements for the completion of
WRSP 502
A History of Worship Music
by
Hadley Willson
WRSP 502
LIM AND RUTH BOOK CRITIQUE TEMPLATE
Hadley Willson
Book Critique
WRSP 502: A History of Worship Music
Lim Swee Hong and Lester Ruth: Lovin’ On Jesus: A Concise History of
Contemporary Worship
Chapter 1: “What Is Contemporary Worship?”
Summary:
In their first chapter, Lim and Ruth define contemporary worship.
Contrary to popular belief, the term “contemporary” has less to do with the
modern style of music used as it does with the relevance of its content to the
people of its time and place. The term originated between the 1920s and the
1930s, and in the 1960s and 1970s, “contemporary” was synonymous with
experimentation. It was not until the 1980s and 1990s, however, that the phrase
“contemporary worship” became widely accepted in the church, “becoming the
most common way to brand, promote, and adopt this new style of worship in
mainline congregations” (9). In the 1990s, the term “contemporary was mainly
used to distinguish from the church’s already established traditional worship.
Furthermore, the authors claim that contemporary worship possesses nine
qualities. First, contemporary worship uses nonarchaic English. Next, it is
dedicated to “relevance regarding contemporary concerns and issues in the lives
of worshippers,”and it often uses strategic targeting. Contemporary worship also
utilizes popular music styles, and is often characterized by extended times of
congregational singing. In addition, musicians are central in the liturgical space
and leadership of contemporary worship. Finally, it encourages physical
expressiveness, informality, and reliance on technology.
Analysis:
Pentacostalism significantly influences contemporary worship,
characterizing its music and services as more charismatic than the traditional
style. However, to what extent does the emphasis on charisma cross the line into
heresy? While Christian worship ought to be authentic and personal it should not
become so subjective, showy, and feelings-based that there is no clear biblical
understanding of the purpose of worship.
What I Have Learned:
The phrase “contemporary worship” is not limited to 21st century popular
music styles; rather, it is more concerned with the social and spiritual relevance of
its congregations in a specific time and place.
WRSP 502
Hadley Willson
Book Critique
WRSP 502: A History of Worship Music
Lim and Ruth: Lovin’ On Jesus
Chapter 2: “Time in Contemporary Worship”
Summary:
In their second chapter, Lim and Ruth discuss the important consideration
of time in contemporary worship. Not only should contemporary worship “belong
to the people of [a specific] time,” but it also concerns itself with the use of time
within a given service (25). The authors define this focus on time within a church
service as “flow.” The emphasis on the flow of contemporary worship services
inspired extended congregational singing times, instrumental interludes, and the
use of media to prevent “‘dead time’ in worship” (32). Additionally, some
churches added a later contemporary service after the traditional service, while
others completely did away with the traditional service. Still, other churches
experimented with Saturday night services. These service experiments were
attempts to target certain members of the congregation.
The authors also discuss the “tenions in time in contemporary worship”
(36). For example, while the contemporary worship encouraged more
spontaneous, authentic expression of corporate devotion to God, it also seemed to
bind worshippers to time. Lim and Ruth coined the term intemporaneous to
describe the phemonenon of using technology to give the allusion of spontaneity
and extemporaneity within worship, even though it is constricted to click tracks in
the musician’s in-ears, set tempos for songs, and sometimes even a clock counting
down.
Analysis:
With the rise of concern for flow within a service, the church has moved
further away fron the more traditional approach to time – observing the Christian
Year. To what extent has the modern church forgotten God’s great salvific love
story by neglecting to observe the Christian Year? Finally, church’s attempts to
avoid dead time as to not bore the congregation only feeds a consumerism
mindset in which the body is present only to receive the show, rather than
participate in the glorification of God and the edification of brothers and sisters.
What I Have Learned:
Contemporary worship is defined not only by its use of time to produce
fluidity within a service, but it should also belong to the people of the specific
time.
WRSP 502
Hadley Willson
Book Critique
WRSP 502: A History of Worship Music
Lim and Ruth: Lovin’ On Jesus
Chapter 3: “The Space of Contemporary Worship”
Summary:
In their next chapter, Lim and Ruth discuss the space of contemporary
worship. During the 1970s and 1980s, the space of contemporary worship was not
clearly defined by one specific model. Rather, the space often changed to adapt to
the needs of the congregation or specific groups within the congregation at a
specific time. Some contemporary worship venues included an overflow rooms, a
youth lofts, and coffee stations; while others moved outside the traditional church
building and met in school gymns, warehouses, and even outside.
In the 1990s, the use of space in contemporary worship became more
standardized and identifiable. Musicians rose to central prominence, and churches
became ever-more dependent on technology. The use of projectors, lighting,
microphones, and sound systems all affect the flow of a service and the
experience and expressiveness of worshippers within a given space.
The authors also briefly examine the different liturgical centers. According
to Lim and Ruth, “the platform stage is usually the most dominant architectural
space at the front” (53). Throughout time, the gathering space has adapted to
emphasize accessability and hospitality. Lastly, not only can the use and
placement of technology within contemporary worship “create fluidity within a
single physical space and service,” but it can also diminish the perceived gap
between the worshippers and the worship leader within a single and across remote
campuses.
Analysis:
While the space of contemporary worship is an important consideration
for congregational engagement in the service, it is not the most crucial. Perhaps
instead of creating comfortable spaces free of distractions and that demand
worshippers’ attention, the church should become more disciplined in their
personal worship and reverence of God. Furthermore, although technological
advances has made it possible for services to reach people in different
geographical spaces, it has also created spiritual division and complacency within
the church.
What I Have Learned:
WRSP 502
The use of space and time go hand-in-hand in creating fluidity in
contemporary worship.
Hadley Willson
Book Critique
WRSP 502: A History of Worship Music
Lim and Ruth: Lovin’ On Jesus
Chapter 4: “The Music of Contemporary Worship: Origins through the 1980s”
Summary:
Lim and Ruth move on to examine the influences, expressions, and
developments of the music of early contemporary worship. The Jesus People
movement gave birth to contemporary worship music by writing Christians songs
that “reflected the sound and spirit of pop music at that time” (60). The authors
describe the simple harmonic structure of contemporary worship music, which is
as follows: Tonic (I), Dominant (V), and Subdominant (IV). Occasionally,
contemporary worship music utilized the relative minor chords: mediant (iii) and
submediant (vi). Furthermore, the lyrics of early contemporary worship were
“Scripture verses set to music” (61).
Furthermore, the civil rights movement greatly influenced the African
American gospel genre within contemporary worship. Its musical makeup closely
resembles that of secular jazz, folk, and rhythm and blues. These songs were
proclaimations of personal testimonies, rather than the strict recitation of
Scripture.
Analysis:
The beginning of modern contemporary worship closely resembles some
of the musical innovations of the Reformation. For instance, both worship
revivals simplified the musical meter, embraced the popular music styles of the
people of a specific time and place, and used the common language of the people.
In addition, contemporary worship encourages musical and poetic creativity.
One potentially problematic aspect of both movements is the emphasis on
personal experience and expression. While it is important for worship to reflect
the immanent and intimate aspect of God’s relationship with His people it is also
imperative that Christian theology remain deeply rooted in objective scriptural
truths.
What I Have Learned:
The Jesus People movement significantly shaped the style and structure of
music within contemporary worship.
WRSP 502
WRSP 502
Hadley Willson
Book Critique
WRSP 502: A History of Worship Music
Lim and Ruth: Lovin’ On Jesus
Chapter 5: “The Music of Contemporary Worship: 1990s to the Present”
Summary:
In the 1990s, the music of contemporary worship was invaded by two
outside influencers. The first was the British invasion, in which British songs
quickly grew in popularity in American contemporary worship. In fact, “by 2003,
there were five British songs in the top twenty-five” in America (74-75). Many of
these British contemporary worship songs are still sung in churches today.
The next contemporary worship invader was Australia, with the rising
influence of Hillong Church’s theology and music. Hillsong Church’s worship
style was faster-paced and often followed the rock music form. Thus, this
contemporary worship music style was often used to minister to the youth and
young adults of the church.
Lim and Ruth further their historical discussion by examining the
American, Hispanic, and Asian influences on contemporary Christian worship
music. They conclude their fifth chapter by considering the “possible future of
contemporary worship music” (87). They argue that, while the Christian music
industry perpetuated the more showy production of worship music in the 1990s,
the modern church is moving towards a more intimate approach to worship in its
use of musical styles, lyrics, technology, time, and physical space.
Analysis:
The influence of other cultures in American contemporary worship is
evident in the songs produced and sung within the church. For instance, it has
become increasingly popular for well-known worship songs to be translated into
other languages and for these arrangements to be sung corporately. Additionally,
contemporary worship songwriters have purposely written sections of songs in
other languages to encourage diversity. However, the inclusion of other cultures is
shallow in the modern showiness of contemporary worship. Rather than simply
throwing in a verse or bridge in another language, American contemporary
worship should include different musical traditions from other cultures. Thus,
worship leaders would become musical “teachers,” assisting in the spiritual,
musical, and cultural growth of the church.
What I Have Learned:
The widely accepted upbeat and rock style of contemporary worship
music is attributed to the Hillsong Church’s influence.
WRSP 502
Hadley Willson
Book Critique
WRSP 502: A History of Worship Music
Lim and Ruth: Lovin’ On Jesus
Chapter 6: “Prayer and Contemporary Worship”
Summary:
Contrary to more traditional models of worship, prayer in contemporary
worship is often spontaneous. The shift to extemporaneous prayer was due to the
emphasis on worshiping and praying in the vernacular, rather than using archaic
English. In the 1960s, the use of contemporary lamguage had to ben defended in
order to be celebrated (91). In addition, the use of modern English in emerging
Bible versions allowed for worship to be more authentic and personal, which
directly impacted the structure of prayer.
Within the context of a contemporary worship service, prayer is often
found at the beginning of “a new act of worship” or at the end (98). It is
sometimes encouraged individually within a corporate setting during the extended
periods of singing, which can be attributed to the Pentacostal movement. Yet,
within the freedom of extemporaneous prayers are found basic formulas by which
to outline the prayer Finally, Lim and Ruth argue that corporate prayer within
contemporary worship is essential to the life of the church, because it encourages
the development of personal practices of prayer, strengthens the sense of
community, and prepares the people’s hearts and minds to receive the Word.
Analysis:
The authors state that “there appears to have been little attention given to
addressing worship leaders’ capacity to pray well” (96). How can someone lead
others in and teach them how to faithfully worship God if he or she cannot pray
with and for the church body well? Although New Testament worshippers do not
need a human intercessor – for Christ is the Great High Priest, and His Spirit
dwells in His people – it is still important for the congregation to witness how to
communicate with God corporately. Thus, worship leaders are not only musicians,
but they are also “teaching pastors” who should pastorally intercede on behalf of
their community (100).
What I Have Learned:
The emergence of Bible translations in modern English had a direct
impact on the shift to more spontaneous prayer in contemporary worship.
WRSP 502
Hadley Willson
Book Critique
WRSP 502: A History of Worship Music
Lim and Ruth: Lovin’ On Jesus
Chapter 7: “The Bible and Preaching in Contemporary Worship”
Summary:
In their penultimate chapter, Lim and Ruth discuss the changes in the
church’s engagement with the Word in contemporary worship. First, the Bible has
been translated into several different modern English versions to highlight certain
theologies and provide variety in how to read Scripture. The 1960s and 1970s
produced some of the most popular translations, including the Living Bible, the
Good News Bible, and the New International Version (107).
Moreover, just like previous revivals, contemporary worship was inspired
by “a fresh love for and revelation upon the sacred Word” (108). As a result,
contemporary worship artists put Scripture to song, and the modern church
encouraged extended times of singing, in which the Word would be proclaimed.
Thus, the transition between the singing of songs and the reading of the Word (the
sermon) became more fluid, and theology could be communicated in multiple
ways other than just the Word (i.e. reading of a short passage by a layperson or
the worship leader). Finally, in order to better relate to the congregation and
entertain their engagement, pastors began using graphics, video illustrations, and
even short films to transition from praise and singing to the reading of the Word.
Analysis:
This chapter highlighted the heartbreaking reality that the modern church
has given into the lies of consumerism. By providing numerous English
translations of the Bible, the church has enabled Christians to pick and choose the
version they prefer and relate to best. Moreover, the use of technology to
transition from the Gathering to the Word and to demand the attention of
congregations seems to communicate that corporate contemporary worship is
comfortable entertainment. Even though it is important to stay relevant to the
congegation of a certain space and time, and although there is a time and place for
comfort in the Christian walk, worship should inspire reverence for God and
should edify the Body of Christ.
What I Have Learned:
While the proclaimation of the Word became more creatively integrated
throughout the contemporary worship service, the reading of the Word lost its
centrality and beame more equal (if not slightly inferior in some traditions) to the
singing of worship songs.
WRSP 502
Hadley Willson
Book Critique
WRSP 502: A History of Worship Music
Lim and Ruth: Lovin’ On Jesus
Chapter 8: “The Sacramentality of Contemporary Worship”
Summary:
Lim and Ruth conclude their book by discussing the sacramentality of
contemporary worship, which the emphasis on God’s presence and activity
amongst His people. Partaking in the Eucharist (table) is like oldest sacrament
observed by the church, in addition to the reading and preaching of the Word.
Another sacrament in response to the Word is the altar call, in which individuals
are invited to kneel at the altar, pray, and receive intercession and salvation.
However, the discussion on the sacramentality of music in contemporary
worship has been neglected. The authors bridge the gap by providing scriptural
evidence of the link between man’s praise and God’s presence. Furthermore, they
describe the sacramentality of praise as a journey. In other words, believers
respond to the truth of God’s character with praise, which in turn results in a
renewed sense of His presence. This “praise-induced” presence of God follows
the Pentecostal belief that Christians can manifest divine presence through
worship.
Analysis:
The more traditional sacraments invite Christians to physically participate
in the salvific story of God. However, believers should be aware that the
observance of such sacraments does not bring salvation in and of themselves.
New Testament Christians are not longer bound to the Law of Moses. Yet,
sacraments are still important, for they allow members of the Body to receive and
live out their salvation.
Furthermore, it is vital for Christians to understand that they cannot
summon God’s presence with praise and song. Rather, believers should ask God
to make them more aware of His ever-present, evading presence. By shifting the
focus from the “praise-induced” presence of God to an increased awareness of His
presence, the church moves from being in control of God to being dependent on
His presence to worship Him in a way that He alone enables and finds pleasing.
What I Have Learned:
Within contemporary Pentecostal liturgy, “praise” refers to thanking God
for His blessings, while “worship” describes the deeper, personal relationship and
communication with God that focus on His personhood.
