The Role of Music In Evangelistic Service
by Ellyzabeth

Purposes

Flynn claims that there are four major purposes for music used in a Christian service: worship, teaching, encouragement, and evangelization. Although music is not regarded as one of the spiritual gifts mentioned in the Bible, it can be channeled as a glorious vehicle for the exercise of gifts themselves such as evangelism, teaching, and encouraging. With that, Flynn views the purpose of church music also as a means of encouraging one another, since the priesthood of believers is meant to strengthen one another, and hymn singing serves this function.[1]

From Flynn’s views of music, we can observe a few things. Flynn is correct when he talks about the use of music in a Christian service. It can be used for worship, teaching, encouragement, and evangelization. As a matter of fact, church music is composed with different purposes in mind. What kind of music is suitable for Christian service? Allen and Borror in the book, Worship: Rediscovering the Missing Jewel, propose that music is

one of the church’s very best means of extolling God for who He is and what He has done. It may be a perfect corporate or individual expression. It allows any and all of the people to say something of real importance to and about God; one of the very best ways to teach biblical truth. God’s word, both directly and conceptually set to music, can penetrate the mind and heart and stay there. What we sing, we remember, because we have combined the power of intellect with emotion; one of the very best ways to spread the message of the Gospel to an unbelieving society. While we cannot find “music in evangelism” specifically mentioned in the Bible, it has proven to be effective in outreach. Throughout the history of evangelism and missions, music can be found to play an important role. Great strides are being made in the task of making music tastefully relevant to those to be reached both in a culture or sub-culture, and cross-culturally. Learning continues as men and women make honest efforts in these areas of music outreach.[2]

This supports Flynn’s contention that music can be used in a number of ways in Christian services. What is necessary is that the music chosen for each Christian service be properly selected in order to fit the purpose of the service. By way of example, music for worship contains elements about God’s attributes so that the worshippers of God might focus their attention upon who God is. Unlike music for teaching, it focuses upon the doctrines or biblical truths about God, so that one might better understand God when he worships Him. Similarly, the music used in every service must be suitable for its purposes, whether that is worship, teaching, encouragement, or evangelization.

While Flynn proposes four ways to use music for Christian services, Whaley, in his book The Dynamics of Corporate Worship, proposes three steps in using music as an agent for corporate worship. According to Whaley, the church should firstly focus on the purpose of music in worship; secondly, the church should follow the biblical pattern for music in worship; and thirdly, the church should find and develop a creative process for clearly and forthrightly declaring worship to God and to one another.[3]

We will examine each one of these points more closely, beginning with the first that the church should focus on the purpose of music in worship. This point is similar to Flynn’s view about music in the Christian worship service. Whaley supports his point with Ephesians 5:19-20. In the context of Ephesians 5:19-20, the apostle Paul suggested that music be used as a means for thanking and praising God, as well as a means for edifying each other to live a holy life. In other words, Paul exhorted the people in Ephesus to have a right vertical and horizontal relationship. The question is, how is the role of music in worship linked to Ephesians? Although Ephesians 5:19-20 mentions singing to one another, the context says nothing about corporate worship. The singing was rather as a means of encouragement among believers. Even though Whaley misuses this passage, music used in worship ought to have a clear focus upon the God whom we worship. The place of music for encouragement should rather be put in the category of Christian service, as Flynn has categorized it.

Whaley’s second point is to follow the biblical pattern for music in corporate worship. Indeed, there are many examples from both the Old and New Testaments which tell about music in corporate worship. Again, Whaley supports his point with Colossians 3:1-17; 23-24. Here, the apostle Paul encouraged the Colossians to live holy life, including “admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord” (Colossians 3:16). By so doing, ultimately they (the Colossians) would receive “the reward of the inheritance” (Colossians 3:24). However, there does not appear to be any relationship between Whaley’s concept of a biblical pattern for music and what Colossians 3:1-17; 23-24 conveys. They are talking about two entirely different things.

Furthermore, with the principle “true worship must be done by Spirit-filled people” claimed by Whaley, in that Segler and Bradley supported with the purposes of music in worship.[4] Moreover, David Cloud in his book, Contemporary Christian Music: Under the Spotlight, rightly claims that it is necessary to have music in our worship to God, based upon some Scriptural convictions:

The Bible is literally filled with references to singing and music. It is mentioned more than 550 times, in 44 of the 66 books of the Bible. The term “music” (and associated terms “musical,” “musician,” etc.) appears 78 times in the Bible. The term “song” appears 98 times. “Sing” (singing, singer, etc.) appears 196 times. It is obvious that God loves worshipful and joyful singing which is done in accordance with His Word. A large portion of the Bible is composed of spiritual songs! The organized music ministry was an important part of the Old Testament worship system (2 Chro. 29:25-28; 1 Chro. 15:16-22; 1 Chro. 25; etc.). Furthermore, God’s people have always sang His praises. The angels sang at creation (Job 38:7). Israel sang at the Red Sea (Ex. 15). Israel sang when the water came from the rock (Num 21:16, 17). Israel sang when God overthrew the Canaanites by the hand of Barak and Deborah (Judges 5). Israel sang when Saul and David defeated the Philistines (1 Sam. 18:6). Israel sang when the ark was brought to Jerusalem (1 Chro. 15:27, 28). Israel sang in the Tabernacle and in Solomon’s Temple (1 Chro. 6:31-32). Solomon sang 1,005 songs (1 Kings 4:32). Israel sang at the rebuilding of the temple (Ezra 3:11). Israel sang at the rededication of the walls of Jerusalem (Neh. 12). Mary sang at the birth of Christ (Luke 1:46-55). Jesus sang with the disciples at the Last Supper (Mk. 14:26). Paul and Barnabas sang in prison (Acts 16:25). The elders and saints sing God’s praises around the throne in Heaven (Rev. 5:8, 9). Those who overcome the Antichrist will sing in Heaven (Rev. 15:2, 3). The 144,000 will sing in Heaven  (Rev. 14:1-3). Those martyred by the antichrist will sing in Heaven (Rev. 15:1-3). God’s people will sing when Christ establishes His kingdom (Isaiah 26:1).[5]

One of the issues that needs special attention is whether music should be the centre of worship. Phrased another way, we could ask whether the central focus of our worship service is music or God? If God is to be the centre of our worship, then what place does music have in our worship services? This should also be applied to evangelistic services. Owens states that in the context of a worship service, we should never use “music for music’s sake.” He further comments that, “as worship leaders, we are there to assist the people, through the medium of music, to encounter God. … We are there to use everything at our disposal to glorify God and edify His people.”[6] In other words, one should rightly conclude that music should not be placed in the center of worship.

In line with that, one of the roles of music in worship services is to praise God. By way of example, Psalm 92:1-3 says, "It is a good thing to give thanks unto the LORD, and to sing praises unto thy name, O most High: To shew forth thy lovingkindness in the morning, and thy faithfulness every night, Upon an instrument of ten strings, and upon the psaltery; upon the harp with a solemn sound.” One may observe that this particular psalm initiates praising God and at the same time, makes music to His name because He has shown His love. Hence, it could be said that this psalm was written for the purpose of praising the Lord. Furthermore, Psalm 150, at the close of the psalter shows how important it is to praise God. Here, the psalm progresses in each verse, concluding in verse 6 saying, “et every thing that hath breath praise the LORD. Praise ye the LORD.”

Whaley’s third point is to find and develop a creative process for clearly and forthrightly declaring worship to God and to one another. Here, it seems likely that Whaley tries to encourage us to have creativity in worshipping God. Bare in mind, when Whaley mentions the word “one another,” it does not mean that we are to worship one another, but rather, that we witnessing to one another through life worship. Hence, to declare worship to God most likely refers to cultivate a worship pattern in a worship service. Again, Whaley supports his view with Colossians 3:16-17. The question is, how can we develop a worship pattern from the teaching of Colossians 3:16-17? As mentioned earlier, in Colossians 3:16-17 the apostle Paul encouraged the Colossians to live holy lives, including “admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord” (Colossians 3:16). Again, Whaley’s view of having to develop a worship pattern is not supported at all by Colossians 3:16-17.

Music plays an important role in evangelistic services. And yet one may wonder just what role music should play in such a service. In other words, what is the role of music in bringing souls to the knowledge of the Lord Jesus Christ?

Music could bring the gospel of the Lord Jesus Christ into the hearts of men as an additional way of uttering the message of the gospel. This does not mean that the role of a preacher should be replaced. Gospel songs can be used to compliment the gospel message in speaking to the listener on a personal level, but ultimately, it is the gospel message that convicts the listener. Hence, the purpose of the songs is to utter out his personal experience when he listens to the gospel message as a response to it. As Routley says, “music not only has power to speak, but also power to act.” By way of example, he mentioned that the influence of music is seen in the story of David as he charmed away Saul’s madness by playing on his harp.[7] Similarly, Martin Luther once declared:

Music is a fair and lovely gift of God which has often wakened and moved me to the joy of preaching. … Music is a gift of God. Music drives away the devil. … Next after theology I give to music the highest place and the greatest honor. … Experience proves that next to the Word of God only music deserves to be extolled as the mistress and governess of the feelings of the human heart. We know that to the devil music is distasteful and sufferable. My heart bubbles up and overflows in response to music, which has so often refreshed me and delivered me from dire plagues.[8]

By and large people admit that music is a means to express one’s emotion.  What role, then, does music play in the service of God? To some, music would stir their hearts to repentance to the Lord Jesus Christ. To others, music would soften their stubborn hearts to bow down before the Lord.

Styles

There are many styles of music used in Christian services. Each style connotes different purposes. Due to that, the music used in an evangelistic service must also have its own characteristics. This will ensure that the music used could serve its function well.

David Cloud defines some characteristics of Contemporary Christian Music. One of them is its philosophy. One of the characteristics of Contemporary Christian Music is the belief that “music is morally neutral.” Its effect is determined by the text it uses. 

Contemporary Christian Music is built upon the premise that music itself is a neutral force and that only a song’s words determine its morality. CCM therefore incorporates the full spectrum of modern rock/folk/jazz/country music, believing that any style of music is acceptable to carry the Christian message and to glorify Jesus Christ.[9]

Sometimes this goes to the extreme of including music in worship that some people believe express sensuous and violent feelings.

One of the many styles of music that can be used for an evangelism service is the hymn. There are actually many different types of hymns. Firstly, there are hymns of adoration, praise and thanksgiving. Secondly, there are hymns of devotion, fellowship, concern, and faith. Thirdly, there are hymns of affirmation, confession, and instruction. And lastly, there are hymns of dedication, response, commitment and invitation.[10] One might asked, “Should hymns be used in an evangelistic service? If so, what kind of hymns would best fit an evangelistic service?” The answer to the first question is ‘Yes.’ But at the same time, one must acknowledge that since the focus of an evangelistic service is on people, the hymns should be chosen with that in mind.

For the congregation in an evangelistic service who might not even understand why they should be present in a church sanctuary, it is almost impossible to talk about adoration. It would therefore be best to use hymns of affirmation, confession, and instruction. Immediately after the gospel message is preached, hymns of dedication, response, commitment and invitation can be sung which function as a response to the gospel message. These types of hymns suit the purpose of this particular service - to win the souls of unbelievers to the Lord Jesus Christ.

Another style of music that could be used for evangelistic service is gospel songs.[11] According to Segler and Bradley, the gospel songs of the nineteenth century are an exclusively American contribution. “These hymns of personal experience are a by-product of the era’s revivalism, and they have become a recognized part of standard hymnic literature.”[12]

At the same time, the so-called gospel songs have also been criticized by different parties. For example, Rayburn rightly suggests that one discerns between hymns and gospel songs. He says: “The emphasis of gospel songs is upon the experience of the believer. This is not wrong, but a true hymn is worship and a sacred song is not necessarily worship.”[13] Hustad has responded to many of these criticisms. In the following quote, the italicized text expresses the criticism and is followed by Hustad’s rebuttal. 

Firstly, Gospel songs are too simple, too repetitious. The strength of the gospel song is its simplicity, artlessness, and repetition. To desire that the average worshiper’s understanding be increased does not change the fact that theological comprehension is approximately that of a twelve-year-old. Secondly, Gospel songs are too personal and selfish. Evangelicals (including Martin Luther) claim that the essence of salvation is the personal pronoun. Thirdly, Gospel songs center more on personal experience than on Christ. While the truly worthy gospel songs will emphasize the centrality of Christ in the Christian experience, the person who has experienced salvation must have a song to express the way he feels.  Fourthly, Gospel songs are anthropomorphic. But this is what Christ came to be – God in the flesh. The God who created the universe is also a close Friend. Both of these truths must be represented in sacred song. Fifthly, Gospel songs are too sentimental. Although this may be true of some songs, the Christian is not to be robbed of a proper emotional response to God’s truth. Without emotion the human will does not respond. And one must realize that an individual’s emotional response frequently depends on his culture. [14]

David Breed went even one step further, saying: “A hymn coordinates with prayer. A sacred song coordinates with exhortation.”[15] One might ask, Is there any difference between sacred song, hymn and gospel song? A gospel song falls under the category of sacred song. A hymn can also be called as sacred song, due to its association with a church’s setting. And hence, sacred songs include hymns, gospel songs and any other kind of songs that are associated with the church. Below we shall see a simplistic chart by Charles Gold who attempted to discern between the hymn and the gospel song.[16] Basically, the chart will help us better understand what are the general components of the hymn and the gospel song. 

 

THE HYMN	THE GOSPEL SONG
Ø      Primary purpose is to glorify God. Both objective and subjective in character.	Ø Primarily a song of exhortation, testimony, warning, persuasion. Usually subjective in character.
Ø      Used primarily in worship services.	Ø   Used primarily in revival meetings, evangelistic services, and fellowship periods.
Ø Music is stately, dignified, and devotional in character.	Ø     Usually rhythmically fast. A pervasive enthusiasm.
Ø   Notes of even time value. Comparatively few notes of eighth or sixteenth value.	Ø      Notes of varied time value, containing, at times, dotted eighths and sixteenths.
Ø     Text is usually set to music without use of chorus or refrain technique.	Ø  Verse with chorus or refrain pattern predominating.

Miscellaneous Resources

• Description of Christian Worship
• Historical Background of Christian Worship
• The Role of Evangelism in Corporate Worship
• The Role of Music in Evangelistic Service
• Different Approaches to Corporate Worship and Evangelistic Ministry
• Christian Martyrs