Modern Worship Music: The Contemporary Praise and Worship Movement and the Reformed Reaction with the Theology and Philosophy of the Movements

Introduction

As a young worship leader who often leads public worship in varying contexts, as well as a music student attending a liberal arts college where the music department values and appreciates traditional hymnody, I have had the opportunity to observe a variety of worship traditions and styles. Growing up, I attended a church aligned with a mainline Reformed denomination (Reformed Church in America) where one particular style was prevalent. Now, I work at a church in an evangelical Reformed denomination (Presbyterian Church in America) which presents a different approach. Additionally, I have observed the high church setting of a Catholic mass and the low church service of a non-denominational church. Through my exposure to worship in many forms, I have acquired a nuanced outlook on the individual needs of a church and the spiritual diet of the songs chosen. Therefore, while not an expert, I am not naive to the breadth of traditions, styles, and consequent philosophies of worship services in America.

It is not uncommon for me to lead a full band of percussionists, guitar players, and keyboardists, nor is it unusual for me to make music with an organist. Perhaps surprisingly, the interplay between contemporary worship songs and traditional methods can be quite strong. Often, contemporary worship can be accompanied by an organ while, in contrast, older hymns can be performed with a worship band. As a worship director, I feel an obligation and responsibility to be well-informed about the current state of the “worship world.” Subsequently, a knowledge of the history of music in the Church—old and new—is imperative. After all, my job is to choose the songs that shape and guide each congregation through worship, including both contemporary and traditional music. I cannot ignore the rich history and tradition from which hymns originated, nor can I neglect the value of contemporary worship music. Songs are a pivotal part of worship, providing congregations with a melodic theology. As a Reformed worship leader, I must implement a biblical analysis and stance on contemporary music, especially its lyrical content, in the church.

The history of the Contemporary Praise and Worship movement and the ensuing reactions of the Reformed movement are critical to such a line of inquiry. Embedded within those histories are key theologies and philosophies which affect the musical content. Although my bias will certainly lean towards Reformed principles, Contemporary Praise and Worship music need not be hastily dismissed solely because of slight theological dissension. Rather, we must consider them charitably and only then seek to arrive at a fair conclusion.

Defining Terms

Before venturing further, a definition of relevant terms is needed to maintain clarity and accuracy. First, the most ubiquitously-used term is Contemporary Praise and Worship (CPW). This simply means the music resulting from both the Praise & Worship movement and the Contemporary Worship movement. These are described in Lester Ruth and Lim Swee Hong’s book A History of Contemporary Praise and Worship, an invaluable resource to this paper. CPW, however, is not to be confused with Contemporary Christian Music (CCM).¹ CCM is a distinct genre of music that is not specifically written or performed in the church. Rather, these types of songs popularly resemble other secular genres of music such as rock, hip-hop, country, indie, jazz, and many more. The determining factor in this genre is that they are not written nor composed for corporate worship. CCM is not a focus of this paper. Overall, modern worship music is the umbrella term for corporate worship music in the church that is played with modern styles, instruments, and technology. The music of the CPW movement as well as the music from the Reformed Reaction all reside under this term.

History of Contemporary Praise and Worship Music

Now that CPW has been defined, a delineation of the movement’s history aids in a further understanding of the term’s significance. Yet this system is not simple; the history of CPW is a complex odyssey narrating the changes in church music values. Through a series of twists, turns, and crescendos, musical styles have shifted along with accompanying theology. Ruth and Swee Hong break down the two primary movements in their book, A History of Contemporary Praise and Worship. The first movement they identified is the “Praise & Worship” movement while the second is the “Contemporary Worship” movement.² While we may find many intersections between these two movements, their diverging developments highlight ideas essential to the understanding of their histories.

Praise & Worship

The first of the two movements under the canopy of CPW is Praise & Worship. Beginning in 1945, its evolution occurred in three main waves: 1945 to 1965, 1965 to 1985, and 1985 to 1995. The essence of Praise & Worship is the movement’s preeminence with the presence of God in worship. In this context, presence referred to how worshippers experienced corporate worship. Emblematic themes of this movement emphasized personal encounters and intimacy with God; there was a high value on emotional experiences. These ideas “emerged from a particular biblical theology that saw God revitalizing the church by restoring praise as the way worshipers experience God’s presence.”³

At its heart, this movement was linked with Pentecostalism. Reg Layzell, a Canadian Pentecostal pastor during the mid-20th century, preached a theology that spread like wildfire resulting in the Latter Rain movement—a Pentecostal revival emphasizing spiritual gifts, prophetic ministry, apostles, and anti-denominationalism. It began in 1948 in Canada and later spread to America. While the Latter Rain movement was dismissed even by other Pentecostals as heresy, Layzell’s idea that worship ushered people into God’s presence caught fire. Central to this new doctrine was its emphasis on the musical aspect of worship; long periods of music in the service were hallmarks of the movement.

While originally a Pentecostal movement, the Praise & Worship movement eventually expanded beyond the confines of that specific category to influence other evangelical and mainline charismatic traditions. In 1965, new developments propelled the theological phenomena into a second wave that would last roughly until 1985. One particularly important aspect was the Jesus movement. Beginning in the late 1960s, the Jesus movement centered around a church called Calvary Chapel that opened its doors to the contemporary, youthful hippie culture. As the movement gained popularity and momentum, passionate musicians infused their faith with music and several praise bands emerged from the movement including a group called Love Song. Maranatha! Music also emerged as a popular record label for what would become records that musicians would begin producing.

The emergence of such worship bands and artists additionally resulted in an emergence in songwriting. Individuals like Karen Lafferty composed “simple scripture-based choruses that quickly spread through youth groups and churches.”⁴ The lyrics were colloquial and accessible with memorable melodies. It’s no surprise these new songs made their way into the churches. For example, consider the lyrics of Lafferty’s “Seek Ye First,” written in 1972.

Seek ye first the kingdom of God

And His righteousness

And all these things

Shall be added unto you

Allelu alleluia

Man shall not live by bread alone

But by ev’ry word

That proceeds

From the mouth of God

Allelu alleluia

Ask and it shall be given unto you

Seek and ye shall find

Knock and the door

Shall be opened unto you

Allelu alleluia (Lafferty, 1972)

During the second wave of the Praise & Worship movement, songwriting gained momentum. The thematic focus of these songs included personal relationships with Jesus and a sense of his presence in everyday life. An additional trend involved lyrics diving into motifs of love, redemption, and transformative faith. This movement’s entire premise is saturated with the idea of the experiential presence of God during worship, the expansion of lyrics concerning intimacy with God is unsurprising.

Furthermore, it was during this period that the role of the worship leader as a guide during the service emerged. Churches began to see worship leaders not just as song leaders but as facilitators of an encounter with God’s presence. Over time, this shift led to the widespread expectation that worship leaders would create an atmosphere where the congregation could experience a deep spiritual connection, shaping the way modern worship is understood and practiced.

The third wave of the Praise & Worship movement took place from 1985 to 1995. As the phenomenon gained speed and momentum, the evolution of songwriting continued. While the singer-songwriter style increased in mainstream popularity, it also deepened a need for organizations to publish the songs. Greg Scheer states that:

[A]s the genre became more enmeshed with the church establishment, there was a notable turn from the intimate Scripture songs of the previous era toward the extroverted, even triumphalistic tone of the “praise chorus.” Praise choruses such as Jack Hayford’s “Maj-esty” (1981) and Rick Founds’ “Lord, I Lift Your Name on High” (1989) were louder, faster, and more festive than anything of the previous era. This new musical confidence was supported by a fledgling worship industry that continued to flourish at Maranatha! Music and grew to new levels with the 1987 founding of Integrity Music.⁵

This is an important turning point in the history of Contemporary Praise and Worship Music. Assimilating with the age of technology, churches started integrating projectors or printed lyric sheets for congregants to use during the service.⁶ Before this, churches almost exclusively used hymnals, yet now, they needed a way to place newly written songs in the hands of those who would sing.

The Christian Copyright Licensing International (CCLI) was formed in 1988 to fill this need. CCLI introduced a blanket licensing system that enabled churches to legally use worship music while simplifying royalty collection for publishers. As a result, many churches quickly transitioned from hymnals to projecting CCLI-licensed songs during services.⁷

As the songwriting industry garnered more opportunities for artists to hone their skills—writing songs for the church and leading worship in a revolutionary way—an output of resources to train musicians to be worship leaders was expanded.⁸ The training consisted of contemporary music in addition to the ideological and theological markers of the movement. To reiterate, throughout the developments of the worship style, this charismatic movement was defined by the conviction of God’s presence. The liturgical function of music bred a new theology of worship itself.

Contemporary Worship

Just as the Praise & Worship movement operated from a specific ideology so did its counterpart, Contemporary Worship. While the Praise & Worship movement focused on seeking the presence of God, the Contemporary Worship movement focused on reaching non-Christians. The conviction was that an “unfortunate gap exists between worship and contemporary people. Faithful Christians must creatively strategize to overcome this gap.”⁹ Essentially, the defining characteristic of this movement was to reach those outside the church.

Ruth and Hong helpfully identify three eras within the Contemporary Worship movement in A History of Contemporary Praise and Worship. Beginning their timeline in the early nineteenth century, they argue that the cycle began with Methodists who emphasized a pragmatic and numerical-oriented approach to ministry during the Second Great Awakening: Ministry success was measured by the number of bodies one could count on a Sunday. Such an approach to ministry would continue throughout the history of America and be foundational in the justification of introducing new music to evangelize.¹⁰ Much of the focus of bridging the gap rested on the youth of America. In the 1960s, however, there were many changes in youth culture: the rise of rock and roll, the hippie movement, New Age philosophy, changes in fashion, the sexual revolution. Those who were concerned with evangelism would thus be prompted to adjust their ministries to the changing social climate.

The second era of Contemporary Worship occurred from 1965 until 1985. Greg Scheer, a composer, author, and church musician known for his work in congregational song, observes, “Evangelicals continued to orient themselves toward youth culture with a new focus on church youth groups and outreach organizations such as Youth for Christ. New music emerged in this context, including youth musicals such as Tell It Like It Is (1969).”¹¹ During this time, mainline Christians also observed a discrepancy between popular culture and traditional worship. This reflection was coupled with the growing distress concerning a decline in church attendance numbers.

In the midst of these troubling reports about numbers, there were those who trumpeted a more optimistic note as they sought to show the way to church growth. The solution, from both enterprising pastors and a growing body of thought called “Church Growth,” emphasized close attentiveness to the cultural dimensions of worship and the willingness to adapt worship in order to attract new people to the Christian faith.¹²

Finally, the Contemporary Worship movement caught fire. At this point, the music had not yet reached the level of being incorporated into a service. However, paired with the need for fresh evangelizing tactics, churches began incorporating modernized music into the worship service. “As American congregations realized that they could attract new members—and not just youth, but adults as well—by inviting guitars and drums into their sanctuaries, they enthusiastically embraced C[ontemporary Worship music].”¹³

Thus began the third wave of the Contemporary Worship movement, from 1985 to the mid-1990s. During this time, the Church Growth movement furthered the idea of the fusion of modern music in the worship service: “Though the 1970s had seen the exportation of church rock music via parachurch campus ministries…, in the 1980s the church growth movement catalyzed American evangelicals importation of rock music into their sanctuaries.”¹⁴ The Church Growth movement is also associated with the rise of “Seeker-Sensitive” churches. The main ideas were similar. A previous pastor of a seeker-sensitive church, Paul Cater, remarks thatn“[t]he basic logic of the seeker-sensitive movement was that we would get people in the door by playing contemporary music, singing contemporary songs, speaking contemporary jargon and addressing contemporary issues.”¹⁵ While he would go on to critique his past philosophy, it is important to see how integral music was to the Church Growth and Seeker Sensitive movements.

In this third period, we see the rise of the modern-day megachurch. It stands to reason that pastors of these churches, as well as the churches themselves, would be eager to adopt ministry methods conducive to growing churches. Redesigning the worship service to fit the culture of America was a clear way to make the church more approachable. These large churches adopted Contemporary Worship and demonstrated that churches would indeed grow if they began to incorporate that style of worship into their services. This also served as a model for other churches to follow. Ruth and Hong add that not only did the megachurches demonstrate models but they also “supplemented this modeling with an abundance of resources and opportunities to learn Contemporary Worship.”¹⁶ By the late 1990s, the innovative rivers of Praise & Worship and Contemporary Worship were flowing in full force. Because of each of their influences, they would eventually merge.

Confluence

The first step in the merger between the separate factions was a union of theologies. In Sally Morgenthaler’s Worship Evangelism, she calls for the evangelism of unbelievers in the church service through the still untapped potential of worship. However, Morgenthaler was not quite convinced of the seemingly secular or irreligious methods of some who would advocate for “seeker sensitivity” in worship services. Subsequently, she adopted a theology closely related to the one found within Praise & Worship. Ruth and Hong assert that Morgenthaler’s “focus on the centrality of praising gave what she saw as the proper fulfillment of a church worshiping in spirit and in truth. Her goal was to provide an alternative approach for evangelicals who had been sucked into a hyper-seeker-focused model… taken to extremes.”¹⁷

Another example of the eventual confluence is highlighted by John Wimber, a prevalent figure in the Church Growth movement who was also associated with Praise & Worship at Calvary Chapels where the Jesus Movement originated. Wimber was also one of the founding leaders of the Vineyard Movement, a charismatic movement of churches that grew out of Southern California. His experience of navigating both Contemporary Praise and Worship movements contributed to the eventual convergence.

Additional spearheaders of this shift included Chuck Fromm and Robert Webber. Fromm, who was the president of Maranatha! Music and later launched the Worship Leader magazine, led to resources and ideas being shared in a streamlined fashion. Robert Webber was also influential in the middle ground by contributing to the Worship Leader magazine and other publications. Webber was especially known for “translating” the praise and worship ideas of Pentecostalism into evangelical spheres.¹⁹

During the merge, artists such as Darlene Zschech, Chris Tomlin, Matt Redman, and many more continued to push the movement forward with their songwriting and distinct style of leading worship. While there were many churches that still completely rejected the idea of modern worship, the majority of congregations began to adopt CPW music. This was a tremendous change in the function and mission of a church service. Yet for the next generation, it would become the new normal in church.

The Reformed Reaction

The lyrics of most of the CPW songs tended to be uplifting and joyful; there were very few cases of themes of sorrow or lament. Accordingly, the services would follow the character of the music; a few case studies with that generation would reveal a longing for deeper experiences with the human condition. Greg Scheer offers some helpful insight into the experience of the youth in the 1990s in light of them being discipled and formed by modern worship services.

[T]hey seem to have felt a vacancy where creed, lament, and the deeper things of worship and life used to be. It was an empty space that couldn’t be filled with the stream of upbeat songs that flowed from the worship industry and flooded their families’ worship centers. These postmodern youth…longed for something more from their faith and their worship.²⁰

In reaction to this modernized worship, however, more conservative, evangelical, and broadly reformed denominations sought a return to tradition. The reaction was not against the styles or genres of music, nor against any technology or modern instruments. Rather, it was against the theologies and philosophies of the CPW movement. The Regulative Principle, Reformed dogmatics, and a desire to connect with the historic Christian faith spurred the reaction forward and into a movement in its own degree.

The Regulative Principle

In his article, “What is ‘biblical’ worship? Biblical hermeneutics and evangelical theologies of worship,” Michael Farley describes a clear vision for the Regulative Principle.²¹ Fundamentally, this principle was founded on the belief that the Bible should regulate what is and what is not permitted in a worship service. Farley warns against solely using the New Testament for discerning practices, arguing that such an approach significantly hinders an understanding of God’s greater plan. Additionally, he warns against letting mere theological concepts expressed in the Bible shape elements of the modern church service since they may leave the discussion too open-ended. Furthermore, Farley argues that one must look at the Bible as a whole–both OT and NT–in order to form a helpful Biblical theology that correctly regulates the worship services in the Church.²²

Matt Merker, a hymn writer and author focused on biblical, congregational worship, describes the Regulative Principle as “God, by his Word, governs[ing] what the local church should do when it gathers.”²³ In essence, the Regulative Principle was to guard against the practices of the evangelical Church Growth/Seeker Sensitive movement that would oftentimes shape their services to attract unbelievers rather than use the Bible as instruction. The framework employed by the Reformed Reaction involved seeing the church service as a part of the Church, for the Church; the purpose of the gathering was to glorify God. Glorifying God, Merker argues, was an even better form of evangelism, because the message of the Gospel did the work of conversion…not an experience.²⁴

The majority of Regulative Principle adherents will strongly encourage the act of corporate confession in worship services. Braden McKinley noticed the lack of confession with the CPW movement and the corresponding services and deduced it to the philosophy of worship. The CPW movement emphasized the personal intimacy that worship creates with God, rather than worship primarily being a corporate act.²⁵

Reformed Theology

However, more broadly, an interest in Reformed theology would affect the reaction. This included doctrines such as substitutionary atonement, one of the most prevailing theories of atonement in orthodox Christianity. The belief is that “the most fundamental event of the atonement is that Jesus Christ took the full punishment that we deserved for our sins as a substitute in our place.”26 In the context of CPW music, the most prevailing atonement theory is Christus Victor which is the idea that Jesus defeated death and sin. While the two ideas are not mutually exclusive—in fact, many Christians believe in both—substitutionary atonement is noticeably Reformed.

Connecting with the Historic Church

Another core conviction of the Reformed Reaction was a desire to connect to the historic church. In a book titled Reformation Worship, authors Jonathan Gibson and Mark Earngey create a helpful biblical theology of worship, capturing the essence of the Reformed Reaction’s desire to connect with the past church. They suggest “the biblical, liturgical elements that were passed from ancient church to the medieval church, and which were then refined by the Reformers in light of Scripture, should once again, and hereafter, be integral to the weekly services of Christian worship.”²⁷ Greg Scheer describes how some churches during the late 1990s began to rediscover a more structured liturgical pattern of worship.

Synchronizing with these historical patterns made participants aware that worship wasn’t only a form of personal expression—it was a means for faith communities to be formed in the faith. That is, worship was not just something you did—it actually did something. Naturally, this understanding of the formative power of worship caused leaders to look more closely at the music they used in worship.²⁸

One of the outcomes of this rediscovery was the Retuned Hymn Movement (RHM) which began in the 1990s.

Retuned Hymn Movement

RHM gained most of its prominence in Nashville, Tennessee with a Reformed University Fellowship (RUF) at Belmont University. RUF was, and still is, a college-aged ministry of the Presbyterian Church in America (PCA). Indelible Grace, a group of musicians encouraged by the RUF pastor at Belmont, Rev. Kevin Twit, was important in “the catalyzing of this movement.”²⁹ Twit notes that the movement was inspired by conversations throughout the late 1990s “with fellow RUF pastors about the nature of contemporary worship music (CWM) and the fact that they were not addressing the spiritual struggles of their students.”³⁰ Their primary goal was to provide more theologically (and even pastorally) robust avenues of modern worship.

In the third volume of Hymns and Hymnody, Bruce Benedict and Lester Ruth note some of the influences that fueled the RHM, the first of which is the “reaction against the commodification of worship music.” It could seem that the publishing companies and record labels–coupled with the CCM industry–were just trying to produce a product. Furthermore, there was renewed interest in the historic church. Realizing their void with the historic Christian faith, musicians began to engage with the texts of old hymns with new melodies. Bruce and Ruth note, “As well as being a rich source of raw material, old hymn texts were also familiar to many in the movement. The hymns provided a safe place to test out the theologies and emotions of prior Christians while also yielding guidance for today’s Christians interested in exploring worship that looked different than their upbringing.”³¹

Another influence was the musical movement in step with the growing popularity of Americana music. During the early years of the RHM, many retuned hymn records were released that resembled either a country or soft rock impression similar to what one would hear in Nashville or arrangements that resembled modern American folk music.

Benedict and Ruth also identified “the utilization of new technologies that facilitated creating and sharing music and musical resources from the grassroots.”³² One of the distinctive aspects of the RHM is that (for the most part) the songs were written to edify and benefit the church. Because of this, the movement did not function like the rest of the music industry whether secular or CPW music. “Utilizing the invention of the mp3 and peer-to-peer (P2P) file sharing, along with innovations in home recording software and technologies, the movement sidestepped the traditional record industry to create and share songs through a burgeoning independent music scene.”³³

By 2016, the RHM had produced over 150 albums mostly by college ministries and local churches.³⁴ In the 1990s, Indelible Grace Music led the charge, but many have continued the work. For example, Benedict founded a record label/cooperative called Cardiphonia. Cardiphonia takes a distinctly liturgical objective with its mission. On its discography, one can find retuned hymns and original songs that are designed for specific parts of the worship service or Christian calendar such as communion, ascension songs, Pentecost, or songs based on the psalter.

This leads to the next vein of the Reformed Reaction: modern hymnody. The melody, harmony, and lyrics of these songs are exactly what make them modern hymns. Early modern hymn writers included Keith and Kristyn Getty and Stuart Townend. Keith and Kristyn continue to write hymns today as do artists such as Matt Boswell, Matt Papa, Matt Merker, CityAlight, and many more.

Modern hymns are similar to ancient hymns thematically with common references to total depravity, perseverance of the saints (both of which are two of the five points of Calvinism), penal substitution, God’s sovereignty and kindness, and the Trinity. A useful example of one such modern hymn is “His Mercy is More” by Matt Boswell and Matt Papa: 

Chorus:
Praise the Lord, his mercy is more
Stronger than darkness, new every morn
Our sins they are many, his mercy is more

Verse 1:
What love could remember no wrongs we have done
Omniscient, all-knowing, he counts not their sum
Thrown into a sea without bottom or shore
Our sins they are many, his mercy is more

Verse 2:
What patience would wait as we constantly roam
What Father, so tender, is calling us home
He welcomes the weakest, the vilest, the poor
Our sins they are many, his mercy is more

Verse 3:
What riches of kindness he lavished on us
His blood was the payment, his life was the cost
We stood ‘neath a debt we could never afford
Our sins they are many, his mercy is more

The chorus is an excellent example of the magnification of God’s sovereignty when nothing that God is stronger than the darkness. Verse two references God’s kindness toward sinners. The many sins notes the condition of human sinfulness and total depravity. Verse three is an example instance of substitutionary atonement. The song mentions Christ’s blood as the payment for our sin and his paying with his life. The very next line talks about the debt that sinners cannot pay themselves and therefore reinforces that Christ satisfies the debt. It is also important to note that most, if not all, of this song’s arrangements are with a contemporary band. Percussion, electric guitars, electric basses, and keyboards are used instead of grand pianos. While it would certainly be possible to play this song on the organ, modern hymnody is widely distinguishable with modern arrangements or orchestrations.

Songs Inspired by Psalms

Another effect of the Reformed Reaction is the surge in songs being written from the Psalms. Not to be confused with traditional psalmody from a psalter but songs inspired by the Psalms that allow for word-for-word transcriptions but also communicate the ideas and themes of Psalms. While there are examples of using Psalms as lyrics in Contemporary Praise and Worship music such as Martin Nystrom’s “As The Deer”, the surge has been a more recent development with artists like Wendell Kimbrough who writes most of his songs based on Scripture. There are some artists who are also associated with retuned hymns or other genres within the general world of modern worship like Shane and Shane, Sovereign Grace, and Cardiphonia who also write songs in this subgenre. While most songs based on Psalms are paraphrased, artists like The Corner Room write songs based on word-for-word translations of the ESV (English Standard Version) of the Bible.

One of the most fruitful and edifying effects this movement has sustained and will continue to sustain on the church is the confrontation of what are considered negative emotions in worship. Sixty five of the Psalms are Psalms of lament. There are themes of anger, confusion, and sorrow all throughout the Psalms. CPW songs rarely give the worshiper the ability to express those emotions through song, and the Psalm songs teach the church to do that.

Reformed Influence on CPW

There is also an intriguing intersection of CPW-styled songs with unmistakably Reformed lyrics. Artists such as CityAlight, Sovereign Grace Music, Shane and Shane, and Austin Stone Worship all have songs in this category. These are songs that are similar in form and sound to CPW but lyrically are intentionally different from the mainstream CPW movement. An apt example of this is CityAlight’s “Saved My Soul”:

Chorus:
You my God have saved my soul
I am yours forevermore
I won’t be moved of this I’m sure
You are my God and you saved my soul

Verse 1:
I was lost when you came for me
Held in chains by the enemy
But you broke them in victory
Now I’m free, I am free

Verse 2:
You’re my joy and you are my hope
I am saved by your grace alone
I will sing of your love for me
I am free, I am free

Verse 3:
Now I stand with the king of kings
He has paid for my every sin
And from now through eternity
I am free, I am free

Bridge:
What once was dead is now alive
You gave to me the breath of life
You brought me up out from the grave
I’m bursting out with songs of praise³⁶

The entirety of the song is focused on how God saves sinners unto salvation, but there are some key theological elements that make this a Reformed piece. For example, the first verse has themes of total depravity and God’s sovereign work of releasing the chains of sin, while verse three clearly demonstrates the theme of substitutionary atonement.

There is some ambiguity when it comes to the specific topic of contemporary-style songs with Reformed lyrics. For example, there are numerous Hillsong or Elevation Worship songs that reference God being in control and standing in our place on the cross. However, there are distinctions in what these bands emphasize in their songs; when one zooms out and considers the big picture themes and theological emphasis, it is easier to clearly assess differences.

Personal Perspective

This paper was only a brief introduction to the history of modern worship in America; many books and articles have been previously written about this topic. Another layer to this historical assessment is that every church has had to make decisions in response to these movements. Some churches completely reject modern music and instruments; some churches adopted all aspects of modern music (now including spotlights and smoke machines in their services); and some have tried to find a way to bridge the gap between the traditional and the contemporary.

These are noticeably very practical questions based on musical style. Importantly, the philosophical question behind the practical is what a church believes and values about corporate worship. What is corporate worship? Why is it important? What does the Bible teach about the gathered worship of God’s people? Upon previously considering the philosophical and theological lenses of which the movements operated, it is clear that a Reformed perspective differs from a church that adopts the pragmatic lens of the Contemporary Worship movement. The Pentecostal Praise & Worship movement differs from both the Reformed view and the pragmatic position. Additionally, there are views besides these three that are not covered (including Catholic, Anabaptist, and Episcopal).

When personally wrestling through these questions, my goal was not to follow a specific tradition or thought leader. Rather, I wanted to find the point of view that takes the whole counsel of Scripture into consideration. Before offering my perspective, I want to qualify it with the admission that I may be wrong and acknowledge the fallibility of my own humanity. That said, after careful consideration and discernment, I have found the Reformed view of worship to fit that criteria the best.

One of the most important aspects of the Reformed view is that the church services are primarily corporate and covenantal (as in a celebration of God’s covenant of grace with his people). Generally, CPW songs and ideologies focus on an individual’s faith and experience. We see this individualistic focus prevalent throughout non-Christian culture. However, when we look at Scripture, it is important to remember that it was written to a collective group of people rather than individuals (even the letters to specific individuals are filled with content for a group of people). Adam Perez, a liturgical, Reformed scholar specializing in the history and theology of contemporary worship, helpfully outlines this idea: “God’s power is not primarily known through individual encounters, but rather through communal ones. As we remember salvation history throughout our worship, we remember that God’s acts of salvation were directed towards a community.”³⁷ Accordingly, the worship service is for the people of God. Unbelievers can certainly be attracted to the services, but the main goal of the service is to worship God and edify his people.

Another aspect of a Reformed perspective is that corporate worship, by its very nature, is formative: it not only expresses faith, but it shapes it. Because corporate worship shapes faith, it also has the power to shape (as opposed to reflect) culture. Consequently, church leaders must take great care in the planning and execution of these services. We should be asking questions about the biblical precedence of different parts of a worship service. When this is done well, it guards the integrity of the service. It also provides security to the church, knowing that each service sits under the authority of Scripture and is therefore obedient to God. Scripture must be the authority under which every church submits. It is primarily through the Bible that God speaks to his people, reveals his character, and tells the story of salvation. God desires to be worshipped wholeheartedly, but he also desires to be worshipped rightly.

Further, history and tradition can, and should, help and inform church practice. I believe that the history of Contemporary Praise and Worship Music has deeply blessed the worldwide church. However, there is rich history and tradition reaching further back into time and culture that we need not ignore. Scripture, the early church, the Reformers, the Puritans, the Black Church, etc. are all examples of people who have deeply shaped orthodox Christianity as it is today. Modern Christians are standing on the backs of those who have gone before us. The living faith of the dead aids us as we lead our churches in worship. Simultaneously, the CPW movement has brought much value to the church. Modern instruments and technology have vastly helped the mission of the church; modern songwriters have given the Body of Christ incredible new songs to sing. Reformed churches need not be afraid to incorporate some of those hallmarks.

The purpose of sharing my perspective is not to convince readers to join a solid, confessionally, and theologically Reformed church. If that were the case, we would miss a beautiful picture of the diversity of the worldwide church. Rather, it is to incite deep thought about the Bride of Christ—the Church—and to recognize its central role in the life of every believer. Scripture is clear that Christ loves the Church, gave himself up for her,³⁸ and is sanctifying her to present her in splendor. If the Church is this precious to Christ, it must also be precious to us.

To value the Church is not an optional aspect of Christian life; it is essential. The New Testament assumes that believers are deeply connected to the body of Christ, devoting themselves to its teaching, fellowship, worship, and mutual care.³⁹ The Church is where the gospel is preached and applied, where Christians are shepherded and built up in faith, and where they participate in the communal worship of the Triune God. To neglect the Church is to neglect one of the primary ways God has ordained for growth and perseverance in the faith.

Moreover, how we think about the Church inevitably shapes how we think about every aspect of corporate worship, including its musical elements. If we see the Church as a gathering of consumers seeking a personal, emotional experience, music will be treated primarily as a tool for individual inspiration. But when understanding the Church as the covenant community, called to worship God in spirit and truth, music is not just about personal preference or cultural style—it is about singing together as one body, united in Christ, for the glory of God. Our view of the Church informs whether we see worship music as an opportunity for self-expression or as a sacred act of corporate, Christ-centered devotion. My hope is not simply to persuade you of a particular denominational affiliation, but to encourage a greater love for the Church itself—a love that reflects Christ’s own love for the Church and rightly shapes the way we worship together.

Josh Hoekstra

Footnotes

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¹ Lester Ruth and Lim Swee-Hong. A History of Contemporary Praise & Worship : Understanding the Ideas That Reshaped the Protestant Church. (Grand Rapids, Michigan: Baker Academic, a division of Baker Publishing Group, 2021).

² Ibid. xiv.

³ Ibid. 3.

⁴ Greg Scheer, “Contemporary Praise and Worship Music.” In Hymns and Hymnody III: Historical and Theological Introductions, Volume 3: From the English West to the Global South. (The Lutterworth Press, 2019), 284.

⁵ Ibid. 285

⁶ Ruth and Swee-Hong. A History of Contemporary Praise & Worship, 46.

⁷ Scheer, “Contemporary Praise and Worship Music,” 285.

⁸ Ruth and Swee-Hong. A History of Contemporary Praise & Worship, 313.

⁹ Ibid. 313.

¹⁰ Ibid. 311.

¹¹ Scheer, “Contemporary Praise and Worship Music,” 283.

¹² Ruth and Swee-Hong. A History of Contemporary Praise & Worship, 313.

¹³ Wen Reagan, “A Beautiful Noise: A History of Contemporary Worship Music in Modern America,” PhD diss., (Duke University, 2015), 265.

¹⁴ Ibid. 266.

¹⁵ Paul Carter, “Why I Abandoned Seeker Church,” The Gospel Coalition | Canada, August 23, 2018. https://ca.thegospelcoalition.org/columns/ad-fontes/abandoned-seeker-church/.

¹⁶ Ruth and Swee-Hong, A History of Contemporary Praise & Worship, 313.

¹⁷ Ibid. 313

¹⁸ Ibid. 262.

¹⁹ Ibid. 296.

²⁰ Greg Scheer, “Retune My Heart to Sing Thy Grace: How Old Hymn Texts Found a New Home among Evangelicals.” The Hymn vol. 65, no. 4 (Boston: Hymn Society in the United States and Canada, 2014).

²¹ Michael Farley, “What is ‘biblical’ worship? Biblical hermeneutics and evangelical theologies of worship,” Journal of the Evangelical Theological Society, 2008, 591–613.

²² Ibid.

²³ Matt Merker, Corporate worship: How the Church gathers as god’s people, (Wheaton, IL: Crossway, 2021), 78.

²⁴ Ibid. 35-8.

²⁵ Braden J, McKinley, “The Neglect of Confession in Contemporary Worship Music,” in Artistic Theologian, (2024), 43–64.

²⁶ Thomas Schreiner, “Substitutionary Atonement.” thegospelcoalition.org, January 14, 2020.

²⁸ Scheer, “Retune My Heart to Sing Thy Grace: How Old Hymn Texts Found a New Home among Evangelicals.”

²⁹ Benedict and Ruth. “Retuned Hymn Movement,” in Hymns and Hymnody: Historical and Theological Introductions, Volume 3 (Cascade Books), 301-314.

³⁰ Bruce Benedict, “Refurbished Hymns in an Age of Vintage Faith: Millennials and the Retuned Hymn Movement,” Liturgy, 32:1, 54-61.

³¹ Ibid.

³² Ibid.

³³ Ibid.

³⁴ Ibid.

³⁵ “His Mercy is More,” track 1 on Matt Boswell and Matt Papa, His Mercy Is More – The Hymns of Matt Boswell and Matt Papa, Vol 1, Getty Music Label, 2019.

³⁶ “Saved My Soul,” track 1 on CityAlight, Only a Holy God, 2016.

³⁷ Perez, Adam A, and Luke Litz. “Towards a Reformed Perspective on Contemporary Praise and Worship Music,” Reformed Journal (2023). https://reformedjournal.com/towards-a-reformed-perspective-on-contemporary-praise-and-worship-music/.

³⁸ Eph. 5:25.

³⁹ Acts 2:42-47.