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Normative and Regulative Practice
Christianity is as wide as it is deep when considering the variations of worship expression. Discussions focused on the observable differences often centre on the extremes such as those seen between Roman Catholic liturgy and Pentecostal worship sessions. The opposing position of the pendulum makes it easy to discuss the differences while maintaining a sense of political correctness. James White, in his book Introduction to Christian Worship (2000) states,
Christian worship, like Christian ethics, is both a descriptive and a normative subject. Specific decisions have to be made locally in terms of people, places, and times, but they should be based on the experience of the whole Christian community throughout space and time. (p. 15)
This idea of descriptive (regulative) and normative principal has developed out of the era of reformation. Bob Kauflin explains
John Calvin and others developed what has come to be known as the regulative principle of worship. This is the conviction that anything we do in a public meeting of the church must be clearly commanded or implied in Scripture…Another approach is called the normative principle…Broadly stated, the normative principle holds that whatever Scripture doesn’t forbid is allowed. (2008, p. 154)
Difficulties develop when we start to explore the impact of such thought on persuasions that are not so easily discerned. For example, the Presbyterian church of Australia comes from the regulative position. This can be seen in such practices as the conservative pedagogical approach to the reading of scripture in corporate gatherings. However, on other topics of Christian practice such as the Eucharist (communion) the Presbyterian Church is forced into a normative approach. The scriptural instruction to “Do this, as often as you drink it, in remembrance of me” [emphasis mine] (1 Cor 11:25b, ESV), provides a platform for interpretation. In fact, John Calvin who birthed the regulative position advocated a weekly offering of communion in corporate gatherings, but today’s Presbyterian Church practices communion every six weeks or even quarterly.
Simply, Christian worship practice for the corporate gathering is rarely defined in scripture. It is this very nuance that has lead to today’s worship wars (Dawn, 1995; Morgenthaler, 2004; Parrett, 2005).
How does the regulative/normative discussion affect the practice of the Contemporary Worship Singer? We observe the effect in simple things such as dress standards and worship posture. We also see the influence of this discussion on such things as performance and celebrity culture. Take for example Dan Lucarini’s comment on the use of microphones. Lucarini says,
Put the microphones back on the stands [emphasis in original]. Take the mikes out of the hands of the singer’s. Handheld mikes encourage a performance style that emphasizes the performer, which often leads musicians to mimic secular entertainers in style and fashion and to desire music that is performance-orientated. (2002, p. 136)
Does it? Does holding a microphone in the hand ‘emphasize the performer’? I dare say that Lucarini approaches his worship practice from the regulative stand point. I venture to add that if one is to take Dan Lucarini’s comments to their natural end, church singers should not be using microphones at all. Indeed they should not even be on stage lest they draw attention to themselves. But can we be so dismissive of Lucarini’s comments? Warren Wiersbe writes, “If the worship service is platform–centered, then we will be only spectators at a religious performance” (2000, p. 88). And herein lies the challenge facing today’s Contemporary Worship Singer; to navigate a practice which has very few scriptural markers. The bible gives no indication to the use of microphones, nor does it provide clear guidelines for performance.
Does this then set the Contemporary Worship Singer adrift on a squally sea of indifference and personal preference? I think not, but it does require the Contemporary Worship Singer to give greater consideration to their task and resulting practice. A good starting point is to enquire as to a particular churches stance; regulative or normative. A general rule of thumb…if the pastoral staff are not aware of such terminology the church is almost certainly normative. Understanding a churches stance in this regard can help position the Contemporary Worship Singer to align both thought and deed.
References
Dawn, M. J. (1995). Reaching out without dumbing down: A theology for worship for this urgent time. Grand Rapids, MI: William B. Eerdmans Publishing Company.
Kauflin, B. (2008). Worship matters: Leading others to encounter the greatness of God. Wheaton, Illinois: Crossway Books.
Lucarini, D. (2002). Why I left the contemporary christian music movement: Confessions of a former worship leader. Webster, NY: Evangelical Press.
Morgenthaler, S. (2004). Emerging worship. In P. A. Basden (Ed.), Exploring the worship spectrum: 6 views (pp. 215–230). Grand Rapids, MI: Zondervan.
Parrett, G. A. (2005). 9.5 Theses on worship. Christianity Today, 49, 38–42.
White, J. F. (2000). Introduction to christian worship (3rd ed.). Nashville, TN: Abingdon Press.
Wiersbe, W. W. (2000). Real worship: Playground, battle ground, or holy ground? (2 ed.). Grand Rapids, MI: Baker Books.
Class Wars: from without
Growing up I went to a good catholic primary school for grades 4 and 5. Walking to school we would often throw taunts, both physical and verbal, at the school bus carrying the ‘public’ school kids as it passed us by. Needless to say the kids on the bus would return the heckling with equal vigour to our own. Being no older than 9 or 10 years of age, I knew nothing of the public school system verses the ‘private’ catholic system, but what I did know, in my infantile wisdom, was that the kids on that bus were different; after all they wore a different uniform. Imagine the shock to my young system when my parents announced that my final year of primary schooling would be conducted in the public school system. Even worse…the same school that was serviced by the bus which I had gestured towards for two whole years would be my school for grade 6. To my surprise the kids at Lismore Public where no different to the kids at St Carthages Catholic.
Much of my adolescent spiritual formation took place in the Pentecostal traditions. I was baptised in a Pentecostal church and my first experiences of being in a worship team were within the Pentecostal church. Whilst I can’t recall a specific sermon or nominate any particular preacher, I grew up with a sense that we, as Pentecostals, were better than our Evangelical brothers and sisters in Christ. It could be argued however, that my innate sense of superiority was weaved into the very fabric of my cultural surroundings (Russell, 1997). How I came to harbour such vain thoughts is, perhaps, redundant, nevertheless I carried this spiritual vanity into my early twenties where I actively participated in a number of worship teams.
One area that my spiritual vanity found a ready platform was in my role as a singer. Pentecostal singers not only sang better; we worshipped better because we were spiritually more ‘mature’ (superior) than our evangelical counterparts. It was not only observable in the quality of our ‘performance’ but in the visual expression of our worship – lifting of hands; kneeling; jumping and clapping. The ‘Evangelicals’ didn’t do any of this (so I thought) and therefore we were more advanced in the evolution of worship. Similar to the joust between kids in the ‘public versus private’ war; equal derision, and therefore responsibility, is harboured by both sides. Sure, Pentecostals might think they have explored the range of available physical worship expressions, thus elevating their spiritual status, but Evangelicals are equal to the task of prejudice by levelling accusation of theological impropriety and misplaced self orientation squarely (and often incorrectly) at the actions of the Pentecostals.
A ‘class war’ does exist between Pentecostal and Evangelical singers. Is it fuelled by the larger ‘worship wars’ (Parrett, 2005) which take in the debate of ‘Hymns versus Chorus’ and ‘appropriate presentational styles’? (Carson, 2002; Warren, 1995) Probably! Regardless, it is an area that is very difficult to address given its ‘unstated nature’. Most worship team members, young and old, are aware (and regularly reminded) of ego and its disparaging qualities for a worship team member (Gilley, 2005; Rowbotham, 2008), but no one ever commented on my sense of spiritual superiority towards other expressions of the Christian faith. I now wish someone had.
References:
Carson, D. A. (Ed.). (2002). Worship by the Book. Grand Rapids, MI: Zondervan.
Gilley, G. (2005). This Little Church Went to Market: Is the Modern Church Reaching Out or Selling Out? (2 ed.). Webster, NY: Evangelical Press.
Parrett, G. A. (2005). 9.5 THESES ON WORSHIP. Christianity Today, 49(2), 38-42.
Rowbotham, J. (2008, March 22-23). Happy Clappers. The Weekend Australian, pp. 4-5,
Russell, J. (1997). A “Place” for Every Voice: The Role of Culture in the Development of Singing Expertise. Journal of Aesthetic Education, 31(4), 95-109.
Warren, R. (1995). The Purpose Driven Church: Growth Without Compromising Your Message & Mission. Grand Rapids, MI: Zondervan.
Worship…what is it?
Worship, in the Christian traditions, has taken on many forms and expressions…but what is it? Bob Roglein, in his book, “Experiential Worship”, makes an excellent point, “Ultimately it doesn’t matter what we are saying or doing in worship if we don’t know what it means” (Rognlien, 2005, p. 88). This is true, when we consider that ‘who we worship’ is foundational to ‘how we worship’.
The editor of “Worship Leader Magazine”, Chuck Fromm applies the working definition of worship across our diverse expressions thus,
It is the opinion of Worship Leader magazine that the centre of worship communities is the preaching of the Scripture, which in partnership with the Holy Spirit of God, becomes the Word. From this central act of worship, a community is formed and constantly reformed. Music serves the reading and preaching of Scripture and ultimately the responsive process, but it is not the main thing. God chose the word “Word” to represent Him. Jesus was thus the “speech of God.” Word is therefore a metaphor for God. Singing, it can be argued, is a form of speech. We often refer to music in God’s house as sung prayer. But speech is a broader communicational concept than merely a song. For example, Psalm 19 speaks of nature pouring out praise to God, day and night. (Fromm, 2007, p. 6)
I like the theological balance conveyed in Fromm’s description of worship. It’s central theme is focused on God’s Word and allows choice expressions, such as singing, to find their way into our ever evolving traditions. It could be argued, however, that we are only ever one step away from disrupting the ‘theological balance’. Gary Parret writes, “Almost every time I hear the word worship used by believers today, it is clear that they are referring to singing praises” (Parrett, 2005, p. 40).
I know that I have found myself ‘over-balancing’ on many more occassions than I would like to admit. Activities, such as singing do play an important role in many of today’s worship traditions, but we must continually assess through self and group reflection whether our focus remains squarely focused on God’s Word or whether other fancies, such as singing, have won our attention.
Voice in Worship 