Theology & Philosophy of Worship Music

As Christians are the “called out assembly,” it should be the longing of the heart to worship in a manner that is pleasing unto the Lord during the corporate setting (Heb. 10:25) and within private times of devotion. Jesus states in John 4:23-24 that “But the hour cometh, and now is, when the true worshippers shall worship the Father in spirit and in truth: for the Father seeketh such to worship him. God is a Spirit: and they that worship him must worship him in spirit and in truth.”

First, worshipping God in Spirit is to engage the heart of an individual, as this form of true worship is to flow outward from within the heart of the individual, reflecting upon intellect, volition, and emotion (Ps. 45:1; 51:17; 103:1; Rom. 1:9-10). On the other hand, worshipping in truth applies to that which is in response to God’s revelation in both general and special revelation. True worship comes from the heart of who God is. Therefore, it must conform to His Word. Each individual element of corporate worship is to reflect the aspect of “worship Him in truth.”

Worship music that is saturated in and submitted to the authority of the Bible will emphasize God’s imminence and transcendence (Ps. 113), and this worship will insure that the songs being lifted to Him are of faithful to teaching God’s Word (Col. 3:16). Music is designed by God for His glory (Rom. 11:36), as it is to facilitate worship and to not be worshipped itself. The enriching of personal convictions will allow for the wonder and majesty of the Creator to be admonished in musical expression.

The music presented within the church should not be hymn versus contemporary, but it should focus on the content of the music alone. A greater question is raised when considering this: is the content faithful in representing who God is (Ps. 145:3-5), what He has done (1 Pet. 2:9), and what He will do (Ps. 96)? The primary concern with this is faithfulness of sound doctrine. As with preaching, worship through song requires careful attention to presenting the “whole counsel” of our Father.

To be faithful within the worship “experience,” we are to avoid being “empty-headed” with emotions. However, we also strive to not focus heavily on being “empty-hearted” with intellect. The principles outlined within the pages of God’s Word call for being biblically-informed and truth-filled response that informs the mind, enflames the heart, and motivates the hands and feet to do kingdom work. The production of passionate love, obedient love, and praise to the Father will reign within the heart and lives of His people. Singing God’s Word was a central part of Israel’s worship, as each letter of the Hebrew alphabet serves as a musical note to where the Scriptures were to be played and sung.[1]

Within the context of Colossians 3:16, which reads, “Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord,” it is clearly evident that multiple musical content-based songs should be used to minister within the body of Christ. Although the text is not clear in addressing the difference between “psalms, hymns, spiritual songs,” it can be derived that “psalms” refer to the psalms and canticles within the Scriptures, “hymns” are ancient songs of praise that taught biblical and theological-based content with varying poetical, wisdom-based structure, and the “spiritual songs” are likely to be the broader “contemporary” songs that are to represent the change within the believer. The music and praise of worship should not be based on the design preferences of those that are trying to be reached with the message of the gospel. By this, the style is to not concern itself with appealing to the masses.

Corporate worship within Scriptures involves the training and requirements for those that sing and play the music itself. They are to be trained in their skill (1 Chr. 15; 23; 25; 2 Chr. 34) and set aside for the purpose of leading corporate worship through song (Deut. 14). Those in ministry leadership are to teach those that are new to the ministry the importance of participating in corporate worship, along with their service and abilities. The worshipper’s heart should also be the main criteria assessed in the life of the worship leader. It should be the function of each local church to identify those individuals that are gifted in music and train them to serve in ministry.

Being a true worshipper calls for personal holiness. The individuals that lead in the worship service should confess sin and pray on a regular basis. The theological beliefs of the leader and the music chosen should be held to a high standard, as the medium and theology are to be compatible. The pursuit of musical excellence comes behind the priority to shepherd people in the way that God has instructed us to do. This way is through a compassion for God, His Word, and His people.

The music chosen is to be relevant to the congregation. It is to be based around a sense of familiarity, not a sense of popularity. The styles and text of musical worship are to be wise in the way of effective communication. The music is to be used as a tool within worship, and it should be a tool that is transferable and useful to the believer, not a hindrance to their sense of daily, personal worship.

The basic principles of faithful worship, through song, are in accord with the revelation that God has given to His people within His Word. The principles of corporate worship are to be used in the edification of the body of Christ to be pursuant of blessed grace within individual worship.[2] Worship is to be faithful to who God is and what He has done through the person of Jesus Christ. It is to be the prayer of His people that we know and acknowledge His goodness by living out the command to “sing praise” for He alone is worthy.

[1] Charles Whipple, Professor, “Introduction to Biblical Hebrew Class Room Lecture,” (2015).

[2] Paul David Tripp, Dangerous Calling - Confronting the Unique Challenges of Pastoral Ministry (InterVarsity Press, 2012), 69.