The Church Musician as (Overlooked) Theologian
No one goes to church and thinks, “I sure hope the worship will be dull and uninspiring!” People desire vibrant worship. Whether it’s the communal practices of Taizé or Iona, the anthems that resound in cathedrals, the gospel choir who brings the congregation to their feet, or the strum of guitars with a praise song, it’s clear that music has a central role in establishing worship.
Unfortunately, discussions about the relationship between music and worship have mostly been one-dimensional, focusing on the music itself, from style (traditional or contemporary) to instrumentation (guitar vs. organ). If churches hope to sustain practices of vibrant worship, the scope of the conversation must include not only church music but also church musicians.
This conversation requires us to think about how the church musician is also a theologian. This might come as a surprise. If we associate “theologian” with anyone in a congregation, it is usually the pastor or other ordained staff. Applying that term to our church musicians can seem like a stretch, especially when many church musicians lack the formal theological education clergy receive through master’s of divinity programs.
Part of the problem may lie in how we think about theology. If theology is mostly dried ink for a dusty classroom, then we may never learn to see musicians as theologians. But if one of the purposes—indeed, the chief purpose—of theology is doxology (the praise of God), then it is easier to see how the church musician does function as a practical theologian, complementing the theological role of the pastor. As David Arcus, adjunct associate professor of sacred music and Divinity School organist, told me recently, “Clearly, our tasks [of being musicians or pastors] are different. But we all share in the general responsibility of facilitating the praise of God.”
Arcus, an excellent conversation partner for thinking about the role of the musician in the life of the church, regrets “the loss of [understanding] the church musician as a professional leader, teacher, and visionary among ministerial staffs.” When he notes that both clergy and musicians share a responsibility for the doxology of the church, he speaks not only as someone who accompanies hundreds of services each year on campus but also as someone of deep and sincere Christian faith.
The shared responsibility means many of the unremarkable, mundane activities of church musicians have real theological import. When I asked Arcus about the factors he considered in leading a hymn, only one stood out as explicitly theological: the liturgical season. The others were straightforward musical considerations, ranging from the size of the organ to dynamics to the presence or absence of a choir. But as musical considerations in the context of and for the purpose of the worship of God, they were musical factors with theological overtones. Playing the organ too softly during a hymn can deprive the congregation of its confidence to participate in acts of worship. Playing the organ too loudly can drown out the congregation and imply that their participation is unimportant. This communicates the theologically impoverished idea that worship is only for the leaders.
This is only one example, and we could doubtless think of dozens of other musical decisions made by organists, contemporary ensemble members, or gospel choir directors, decisions that form the worship life of churches, a distinctly theological activity. But the theological role of the church musician is not limited to purely musical activities.
For instance, consider what happens when a musician accompanies a song. She or he is, on the one hand, concerned with musical factors: how loud to play, how fast to play, whether the congregation needs extra help in order to sing well, and so on. On the other hand, she or he hopefully has noticed textual issues, such as whether the mood of the words is celebratory or plaintive, penitent or joyful. Furthermore, the musician may also have considered how some textual element could be communicated in the music, perhaps by changing a chord to highlight a particular word or by playing louder or softer on a stanza. In other words, the musician is trying to communicate the theology of the song through the music itself. It is a complicated endeavor, and it requires the musician to be sensitive to the communication of theological ideas.
Some might protest that this level of subtlety is too obscure for the average person to discern during worship, but the subtlety is actually another opportunity for musicians to demonstrate their theological role. Arcus has suggested that “occasional,