Worship Music is Not a Platform for Personal Preference.

Worship Music is Not a Platform for Personal Preference.

Public music worship should not be a platform for the pastor’s or the minister of music’s personal tastes in music.  The assembly of believers does not gather to receive a music lesson on J. S. Bach or a cappella choral techniques or to revisit the oratorios of Handel, Mendelssohn and Gounod.  Neither is the purpose of congregational singing to keep the hymns of Watts, Wesley and Fanny Crosby alive. Special singing is not an opportunity to fan the minister of music’s latent desire to sing bass in a famous southern gospel quartet or a country gospel band.  Richard S. Taylor sums up the matter quite well,

The fact that some people may like this or that is not sufficient reason for the church to use it.  The church should lead the way in such standards, not objectly follow every fad and custom which happens to be “in” at the moment.  The Church has no business adopting the philosophy, “If you can’t lick ‘em, join ‘em.”  We should be governed by basic and eternal principles.  There are music forms, whether secular or sacred, which create moods of pensiveness, or idealism, or awareness of beauty, of aspiration, and of holy joyousness.  There are forms of music which create moods of recklessness and sensual excitement.  Surely it doesn’t take much judgment to know which forms are most appropriate for religious function.  A Return to Christian Culture,  by Richard S. Taylor, p, 87

          So, church music selections should line up to Bible principles of music in worship.  Choices should not be made solely on personal preference but rather what this style of music will do to the whole life of the individuals who worship with it.  From the time of Plato and Aristotle philosophers have believed, more or less, that good music would cause one to tend toward the moral virtues and that bad music would cause one to tend toward moral decadence.  The real belief being expressed by these philosophers was that the formal properties of the music, when formed into a congruent whole which we call a musical composition, would have a profound effect on the hearer,