Sensus Divinitatis

Fiona Evison is an active Christian with four decades of Canadian music ministry leadership, as well as a Music Education PhD candidate and community music (CM) researcher at Western University. She is a seasoned CM leader and composer invested in enabling music making in varioussettings, and her research combines interests in care, pandemic recovery, collaborative composition, and well-being. She can be found on researchgate.net.

Get rid of the drums, OR ELSE.

As church leaders, we sat in the church office contemplating this message written on the back of an offering envelope and placed into the offering plate. I was the worship director at a church that had already transitioned to a blended worship approach long before my arrival, incorporating worship songs from new composers alongside traditional hymns. Before my time, a drum kit had been purchased and placed in the sanctuary in which a full age spectrum of Christians attended services. The use of drums had depended on there being a drummer in the congregation, and after a period of drumming drought, the kit was back in use.

The warning note was anonymous. Its message on a blank and empty offering envelope potentially indicated future withheld monetary donations. It also occurred to us that “or else” could mean that the author would leave the church in protest. We had no way to know, and sadly, no way to initiate a discussion about concerns with the obviously unhappy author.

Worship Wars 2.0

This scenario illustrates how music is a common conflict source within congregations, whether related to congregational singing or other musical presentations meant to edify worshippers and enhance the service. In my experience as a congregational musician for 40 years, conflicts can occur over various factors such as instruments (as in this case), musical genre or style, lyric content or complexity, volume, number of songs, musicians’ dress, amount of speaking versus singing, music placement in the service, whether the congregation stands or sits to sing (and for how long), etc. I have also unfortunately seen congregation members and musicians take other more visible and disruptive forms of protest, including refusing to stand for contemporary songs, but standing for the hymns, and leaving or walking to the back of the sanctuary during the contemporary songs, but returning for the hymns.

As a child of the 1960’s, I understand well the tensions within congregations that worship changes have wrought over the decades—conflict that has been widely called worship wars, and which continues to be discussed on social media groups and blogs, and addressed from various denominational viewpoints in worship treatises and manuals, leadership magazines, and academic papers. You can see some examples here.^[1] Additionally, as a reflection of the fact that imperfect humans design, rehearse, and lead musical worship, conflict can also occur among the musicians themselves due to artistic choices, perfectionism, criticism, jealousy, envy, pride, organizational matters, and more. There is even an entire book devoted to overcoming such conflict.^[2]  

Besides potential disagreements over music ministry, congregational life brings a plethora of other opportunities for friction as flawed people interact with one another. You have possibly heard of disagreements over church carpet colour, but I was recently told about a fight over the colour of tablecloths used for a church event, which ended in piles of tablecloths on the floor and an enormous breach in the women’s ministry. This situation may seem like “much ado about nothing,” yet it had significant relational and spiritual impact in that congregation. Societal tensions also affect local congregations, such as when church members in my city divided after the 1988 United Church of Canada mandate to extend membership and ordination “regardless of sexual orientation.”^[3] In more recent pandemic years, church members have differed over masking, vaccination, and governmental mandates. Discord can also erupt in online communities—sometimes to the point of obliterating evidence that we are Christ’s disciples, and demonstrating “the brokenness and division ravaging every aspect of life.”^[4] Divisions are no surprise if you understand Christian denominational history, with its repeated cycles of conflict among people who were previously united around certain doctrinal beliefs, leading to separation and new group formation. A recent example is the sexual ethics debate that resulted in a schism within the United Methodists, resulting in the 2022 formation of the Global Methodist Church.^[5]

Conflict is inevitable, even among people who have experienced the reconciliation with their Creator that is at the heart of the gospel. It is a tale as old as the Garden of Eden (Genesis 3:12-13), evident among interactions between Jesus’ disciples and in the early Church, based on abundant Scriptural calls for unity, love, and forgiveness, and admonitions against the destructiveness of quarrelling (e.g., see Philippians 2; 1 Peter 3; James 4).

Christians fight, even over matters of church!

Christians come together as worshippers in various states of “becoming,” or ability to act out their faith^[6]. This means that music leaders must grapple with relational complexities while supporting congregational worship that requires a vertical focus to God as we “sing and make melody…to the Lord” (Ephesians 5:19), and a horizontal focus to fellow believers as we “[speak] to one another in psalms and hymns and spiritual songs” (Ephesians 5:19). Worship is a school for praise, but also a school for learning to love one another.

Singing About Reconciliation

How can we speak to one another in worship, though, if we are quite literally not speaking to one another outside of our gatherings? In Matthew 5:22-24, Christ indicates in no uncertain terms that our priority should be reconciliation with one another first: leave aside your offering and be reconciled to one another before coming to worship. Matthew 18 outlines that the steps towards reconciliation begin with a heartfelt personal conversation between the people at odds and copious amounts of forgiveness and mercy towards one another. There are plenty of stories, though, of resentful members who sit on opposite sides of the sanctuary, and accounts of those who choose to leave a congregation—sometimes over music, but not always.

As a musician, I am interested in the question: Can congregational music have a role in reconciliation? Absolutely, but it likely requires prioritizing the spiritual, sonic, and symbolic aspects of communal singing that encourage unity, as well as considering how a worship service can accommodate practical action. German Lutheran theologian Dietrich Bonhoeffer’s (1906-1945) classic book, “Life Together” ^[7] on the subject of Christian community offers some insights that may be helpful in gaining a fresh perspective on this topic.

The first considerations involve valuing our congregational bond and cultivating an appreciation for freedom to gather in worship (assuming that where you live as you read this blog has such freedom). Bonhoeffer says, “It is by the grace of God that a congregation is permitted to gather visibly in this world to share God’s Word and sacrament. Not all Christians receive this blessing.”^[8] We can forget the reality that believers under various circumstances may not be able to gather for worship and take our worship freedom and opportunities for granted. Examining a persecuted church prayer map gives a sombre reminder that in numerous places in this world, Christians suffer because of their faith and must meet in secret.^[9] (This does not necessarily mean that they sing in secret,^[10] but there are times when worship is whispered^[11]). Here in North America, recent pandemic lockdowns helped to highlight the importance of our ability to gather, and it renewed appreciation of congregational community. Bonhoeffer further writes, “It is easily forgotten that the fellowship of Christian brethren is a gift of grace, a gift of the Kingdom of God that any day may be taken from us, that the time that still separates us from utter loneliness may be brief indeed.”^[12] He exhorts us to praise God in thankfulness for the privilege of living and worshipping in community with other Christians. 

Singing together is a communal act that strengthens us spiritually and socially. Bonhoeffer writes that in difficult times, we need to hear God’s words proclaimed to us by community members. Music can transmit God’s Word in impactful and memorable ways, and we need to sing these words of truth to one another, as “bearer[s] and proclaimer[s] of the divine word of salvation.”^[13] According to Leisch, congregational music brings rich theological truths to us in small, accessible formats that we can understand and remember.^[14] In other words, music is a vital tool by which we can communicate the depths, experiences, and teachings of our faith while encouraging one another as we journey through life. From the weekly congregational comments that I receive as a church music director, I am convinced of our need to hear others proclaiming the Christian faith through music. I have experienced this need myself, and it is likely that you also can think of times when your heart was uplifted, encouraged, and edified by congregational singing that impressed God’s words onto your heart. 

Congregational repertoire is derived from direct Scripture passages put to music, paraphrases of Scripture, and/or devotional reflections of the writers.^[15] These songs comfort us as we face trials, but they can also remind us of our mutual encouragement role and need for unity—evident in the 2, 288 hymn texts on unity in the Hymnary database (a comprehensive online worship music resource).^[16] An example of a longstanding hymn with lyrics that emphasize Christian unity and fellowship is John Fawcett’s (1739-1817) “Blest Be the Tie that Binds,” which appears in over 2000 hymnals: 

The final stanza alludes to the sonic and symbolic impact of community singing that reminds us of our membership in a global body of Christians. Bonhoeffer writes, “It is the voice of the Church that is heard in singing together. It is not you that sings, it is the Church that is singing, and you, as a member of the Church, may share in its song.”^[17] Here, Bonhoeffer is addressing the duality of individual voices joining in a mass physical sound that represents our belonging to not just a local gathering, but one that is connected around the world and through ages past and present. In addition, congregational singing symbolizes the time when people from every culture and language will praise God together in one heavenly multitude, as depicted in Edward Perronet’s “All Hail the Pow’r of Jesus’ Name”: “Oh, that with yonder sacred throng we at His feet may fall! We’ll join the everlasting song, and crown Him Lord of all!”

Referring again to recent pandemic years, one dreadful thing about that time for Christians was that in many places, singing was not allowed. Social and mainstream media did make us aware of efforts to keep the world singing^[18] and to share songs of comfort and hope (e.g., the UK minister who set up loudspeakers outside to play “Amazing Grace” for hospitalized COVID patients^[19] [20]). However, it was more difficult to see our individual contributions in front of a computer screen in the way Bonhoeffer suggests—“as a member of the great Christian Church on earth… join[ing] our singing, be it feeble or good, to the song of the Church.” ^[21]

Bonhoeffer’s reflections on congregational singing as a symbolic, spiritual, and social phenomenon align with biblical commands that our worship music repertoire should exhort and encourage one another (e.g., Colossians 3:16). Combined with admonitions that Christians should live in forgiveness and reconciliation with God and one another, it is clear that musical worship should be used to facilitate and demonstrate such unity. 

Reconciliation in Worship

So, we should sing about reconciliation in our services, but should we also create space in them for reconciliation? If so, what would that look like? 

As a teen, I witnessed reconciliation between congregation members in revival services that involved singing and teaching on reconciliation and ended with time set aside to pray, be prayed for, or to reconcile.^[22] [23] It was a departure from the church’s regular proceedings, and it was remarkable to see people moved by the Spirit to take action in obedience to God’s call for repentance and unity. Such physical movement in the sanctuary, however, disrupts the norms of orderly, leader-directed worship practices that are entrenched in many denominations. Consequently, when a fellow worship leader more recently attempted to incorporate the idea one Sunday that our communion service should involve a time to reconcile with others before partaking, there was no congregational response. Social habits possibly worked against such a radical change in practice, even if the need existed. Alternatively, in a different congregation, a worship performance culture influenced by the contemporary worship music industry^[24] may be antithetical to the humility required for reconciliatory gestures. Practical ways to facilitate reconciliation, therefore, is an area for further pondering, but it will likely require church leadership to consider cultivating new practices and norms.

It is difficult for many of us to admit interpersonal problems and to address them—especially in a congregational context when we know we are supposed to live at peace with one another (Romans 12:18). The time of confession within Reformed worship,^[25] which is also being rediscovered in denominations that formerly omitted this liturgical element,^[26] is an opportunity to acknowledge that we are people who fail regularly, need God’s mercy and forgiveness, and that this is available to us through Jesus Christ. Confessional prayers, whether spoken or sung, could help the congregation to understand the importance of right relations with one another. (See suggested resources here.^[27]) A time of silence within the prayer or in which the instruments play softly without vocals also allows worshippers to listen to the Spirit and personalize their confession. Normalizing reconciliation could involve designating a room close to the sanctuary for prayer and conversation, as well as verbally encouraging such interactions between members. 

There may be times when discord occurs over a primary doctrinal issue that cannot be overcome without violating one’s conscience. Subsequent separation from that congregation (or even denomination) may be required, repeating a pattern that began in the early Church. Although such partings are sad, and can be explosive and destructive, it is absolutely possible to “leave well,” maintaining bonds of love but recognizing doctrinal differences. Other matters, however, can be worked out in love to overcome what divides or detracts us from demonstrating God’s transformational presence in our midst. Music can be a tool in this process, reminding us of relevant biblical teachings and encouraging community formation, cohesion, and identity. 

Remembering that our communal worship is a privilege and blessing may help us to prioritize our gathering in song and set us on the path to reconciliation. However, it goes without saying that matters of concern are best addressed in person, rather than through placing anonymous notes in an offering plate.  

NOTE: Fiona Evison’s research has been published in the Futures of Performance (2024 Routledge); the Oxford Handbook of Community Singing (forthcoming OUP); Transform Journal (2023); Canadian Music Educator’s Journal (2022), Religions (2022), Oxford Handbook of Care in Music Education (2023 OUP) and Journal of Popular Music (2023).

ENDNOTES

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^[1] Marva J. Dawn, How Shall We Worship? Biblical Guidelines for the Worship Wars (Carol Stream, IL: Tyndale House Publishers, Inc., 2003); Thomas G. Long, Beyond the Worship Wars : Building Vital and Faithful Worship (Bethesda, MD: Alban Institute, 2001); Perry C. Cotham, Ceasefire : Ending Worship Wars with Sound Theology & Plain Common Sense (Orange, CA: New Leaf Books, 2002); Ronald P. Byars, The Future of Protestant Worship : Beyond the Worship Wars (Louisville, KY: Westminster John Knox Press, 2002); John R. Bisagno, Inside Information : Resolving Controversies in Baptist Churches–Worship Wars, Calvinism, Elder Rule (Bloomington, IN: CrossBooks, 2010).

^[2] Rory Noland, The Heart of the Artist: A Character-Building Guide for You and Your Ministry Team (Grand Rapids, MI: Zondervan, 1999).

^[3] United Church of Canada, “Historical Timeline,” accessed December 5, 2023.

^[4] Daniel Raymond Gray, “Access Restored: The Role of Music and Worship in Christian Reconciliation” (Master’s Thesis, Lynchburg, Virginia, Liberty University, 2021), 1.

^[5] “Global Methodist Church,” in Wikipedia, November 28, 2023.

^[6] “What Is Sanctification? What Is the Definition of Christian Sanctification?,” GotQuestions.org, accessed November 15, 2023.

^[7] Dietrich Bonhoeffer, Life Together (New York: Harper & Row, 1954).

^[8] Bonhoeffer, 18.

^[9] “Global Persecution,” The Voice of the Martyrs Canada, accessed December 4, 2023.

^[10] Frank E. Fortunato, “Singing Dangerously: How Christians Endure Persecution Through Song,” Global Forum on Arts and Christian Faith 5 (December 30, 2017).

^[11] John E White, “Growth Amidst Persecution: A Comparison of the Evangelical Church in Communist China and the Soviet Union,” International Journal of Frontier Missiology 29, no. 3 (2012): 139–47.

^[12] Bonhoeffer, Life Together, 20.

^[13] Bonhoeffer, 23.

^[14] Barry Wayne Liesch, The New Worship: Straight Talk on Music and the Church (Grand Rapids: Baker Books, 2001), 24.

^[15] Jonathan Blackmon, “Hymns,” in The SAGE International Encyclopedia of Music and Culture, ed. Janet L. Sturman (Thousand Oaks: SAGE Publications, 2019), 1110–12.

^[16] “About Hymnary.Org,” Hymnary.org, accessed December 4, 2023.

^[17] Bonhoeffer, Life Together, 61.

^[18] Johann van der Sandt and Antonella Coppi, “MUSICOVID-19: When the World Paused but Singing Continued,” International Journal of Community Music 14, no. 2–3 (2021): 151–67, https://doi.org/10.1386/ijcm_00042_1.

^[19] “The Portable Priest Lifting Spirits in London,” BBC News, December 27, 2020; Hope in Lockdown – The Portable Priest, Video Presentation (Online: YouTube, 2020).

^[20] “The Portable Priest Lifting Spirits in London.”

^[21] Bonhoeffer, Life Together, 61.

^[22] Rush Greenslade and Edward E. Plowman, “A Great Awakening?: Revival in Canada,” Christianity Today, December 17, 1971.

^[23] K. Neill Foster, Revolution of Love: The Canadian Revival 1971-72, Its Impetus and Theology (Camp Hill, PA: Horizon Books, 1997).

^[24] Peter J. Schuurman, “Discordant Notes on a Scandalized Hillsong Music Industry: When Praise Becomes Performance,” Sensus Divinitatis (blog), October 23, 2023.

^[25] Arlo D. Duba, “True Confession: Ideas for Recovering a True Spirit of Confession in Worship,” Reformed Worship 52 (June 1999).

^[26] Jonathan Landry Cruse, “Why Corporate Worship Should Include Corporate Confession,” The Gospel Coalition, January 26, 2021; Ray Van Neste, “The Importance of Confession of Sin in Corporate Worship,” Center For Baptist Renewal, May 9, 2018.

^[27] Duba, “True Confession.”