developmental history of christian worship 2

Developmental History of Christian Worship: Post Reformation to 20th Century

© 2012 Dr Daniel K. Robinson

Developmental History of Christian

Worship: Post Reformation to

20th Century Objectives:

1. Sketch a historical timeline from the post Reformation to the 20th Century

2. Identify key historical occurrences and figures

3. Briefly discuss significant theological developments

Outcomes:

At the end of the session the student will be expected to know some of the key historical occurrences

and the people who helped to shape them. Broadly, the student should understand the manner in

which this period of developmental history has influenced today’s Christian worship.

1. PostReformation:AD1750–1900

The Reformation, despite its necessary developments, was highly divisive. Discordant views concerning

liturgical design, the Eucharist, Baptism and the use of music plagued the post reformational church.

Churches today still debate the issues defined during the Age of Reason and Revolutions…Compared to

the privileged definitions of the patristic era, the labyrinth syntheses of the Middle Ages, or the schisms

during the Renaissance and Reformation, the intellectual and affective as well as the industrial and

political revolutions of the modern world may seem merely temporal matters. Actually, they are often

applications of attitudes taught through Christian religious practices. (Donakowski, 2006, p. 351)

Readings

•Wainwright & Tucker (2006). The Oxford History of Christian Worship. Chapters 9, 14, 22 (pp. 351–394; 473–483; 586–632)

•Webber (1994). Worship: Old and New. Chapters 11 (pp. 121–134)

•White (1993). A Brief History of Christian Worship. Chapters 5 (pp. 142–177)

Christian Worship PC315/515

Developmental History of Christian Worship: Post Reformation to 20th Century © 2012 Dr Daniel K. Robinson

“With the Protestant Reformation the notion of a singular infallible dogma within Catholic

tradition was replaced by thousands of infallible dogma within the statements of faith of

the many ecclesial bodies that make up Protestantism. That is to say, the Protestant

Reformation combated the notion of the papacy by replacing one pope with thousands of

popes – a highly questionable improvement” (Greer, 2003, p. 66).

The Enlightenment (AD 1650–1750)

The Enlightenment, also known as the Age of Reason, spans the seventeenth and eighteenth century’s

(AD 1650–1750). The observant reader will note that this chronology positions the period during the

closing stages of the Reformation. Indeed, as with every stage in history, and perhaps more easily

observed in recent times, eras are graduated so that the commencement of a new period is often

observed to start during the completion of its predecessor.

Given the tumultuous time of the Reformation it is interesting to observe that the factual and proof

driven requirements of the Enlightenment caused the Roman Catholics and the Protestants to become

uneasy bedfellows. Seeking to combat (in their own way) the Enlightenment’s suggestion that human

reason is the locus of authority and that the nature of salvation is found in human ingenuity and moral

resolve, “Roman Catholics and Protestants agreed that authority was not within, but outside mankind.

The former invested in religious knowledge mediated by the church; the latter in the Bible explained by

pastors” (Hannah, 2004, p. 41).

Approaches to Authority and the Enlightenment (Hannah, 2004, p. 41)



The following graphic shows the three main contributors/thinkers to the development of knowledge

during the Enlightenment:

Hannah (2004) qualifies his illustrative representation (above) of the Enlightenment when he writes:

Descartes believed that human knowledge begins with doubt of everything except our ability to think,

and that only through our reasoning can we know the existence of God. John Locke argued that

knowledge comes from reflection on sense experience. Kant refined Descartes’ and Locke’s views, saying

that knowledge falls into two categories: spiritual and physical. We cannot really know the spiritual, but

through knowledge derived from the physical realm we order and understand our inherent spiritual

morality. (Hannah, 2004, p. 43)

The Enlightenment and Knowledge (Hannah, 2004, p. 43)



Modernity (AD 1750–1900)

The second stage of the Post Reformational era is known as the age of Modernity. Secular historians

often refer to this era as the Romantic period (18th and 19th centuries). Sweetman (2012a) writes,

“Romanticism glorified the past, revelling in picturesque and exalted feeling. It produced three further

worship traditions: Methodism (heart religion, enthusiasm), the Frontier church (camp meetings,

conversion) and Pentecostalism (experiencing God in worship)” (p. 13).

The following events and people are of particular note to this study:

First Great Awakening (AD 1726–1742): Beginning among the Dutch Reformed Churches in

New Jersey, the first Great Awakening is a wave of evangelistic revivals that sweep through

the American colonies. The lasting trademark of this revival is the need for ‘New Birth’ or

being Born Again.

Jonathan Edwards (AD

1703–1758): Jonathan

Edwards preached in

America and revival began

to spread. In 1739

Edwards was joined by

George Whitefield who

travelled between England

and America, preaching

the gospel and reaching

about 80% of Americans.

The Awakening centered

on reviving the spirituality of established Protestant congregations, but was resisted by

some denominations. Perhaps is most famous sermon is Sinners in the Hands of an Angry

God (AD 1741).

John Wesley (AD 1738): Originally an Anglican minister, John

Wesley has his conversion moment famously known as his Aldersgate

Experience. Occurring at a Moravian meeting in London, Wesley describes it as

not only ‘believing’ that Christ is his salvation but coming to ‘feel’ it and ‘trust’ it.

Whilst Wesley’s manner of preaching was ultimately rejected by the established

church and he reluctantly formed the Methodist Societies (AD 1739) within the

Anglican Church to provide guidance for the converts drawn to the church by his

evangelistic efforts; later these societies would become known simply as the

Methodists. John Wesley

(AD 1703–1791)

Jonathan Edwards: America's Greatest Theologian(Galli & Olsen, 2000, p. 43)



Calvinism vs. Arminianism (AD 1741): John Wesley (Armenian; believing that anyone who

wanted to could be saved) and George Whitefield (Calvinist; believing that only those

chosen by God could be saved) split over their theology of conversion. Despite remaining

close friends, the theological dispute between Calvinism and Arminianism “continued to

produce major tension in revivalist circles” (Sweetman, 2012a, p. 14).

Second Great Awakening (AD 1800–1870): Centered on the debate over slavery, the second

Great Awakening is indigenous to America and its unprecedented multiculturalism as well as

its increasing sectarianism. Theologically, this revival of American churches focused on the

question that asked, ‘Is conversion a punctiliar event accompanied by manifestations of the

outpouring of the Holy Spirit?’ Revivalists said ‘yes’ while New England Theology,

Catholicism, High Church Anglicanism said ‘no’. Often propagated through earthy,

evangelistic rallies (camp meetings), the second Great Awakening brought millions of new

Christians into the American church (mostly Baptist).

Charles Finney (AD 1821): One of the great evangelists during the second Great Awakening,

Charles Finney, is converted. An innovative revivalist, Finney uses women to pray in

meetings, encourages mixed

race attendance to meetings

and preaches extemporaneously

(a style of preaching requiring

extensive preparation without

the exact wording). Finney is

also renowned for his

employment of New Measures;

a revivalist technique used to

justify the use of direct public

pressure to secure ‘convictions’

in revival meetings.

The Oxford Movement (AD 1833): A High‐Church Anglican group, the Oxford Movement

(also known as Tractarianism in its earliest stages) attacks the secularisation and liberalism

of the Church of England; attempting to bring it closer to Catholicism. Its impact on worship

can be seen in the Eucharist becoming more central to worship and vestments becoming

more common.

Liberalism (AD 1850–1900): Also known as Modernism, Liberalism (and its theology) seeks

to preserve Christianity by adapting it to the intellectual and social climate of the time;

including evolutionary theory, biblical criticism, psychology, sociology, Kantian philosophy

etc.). With an emphasis on God in history, Christian experience, goodness of humanity, and

ethics, Liberalism views the “bible as a book written by God‐believing people that could be

examined in the same way as other books. It sought to remove the superstition and

Charles Finney: Father of American Revivalism (Galli & Olsen, 2000, p. 67)



supernatural from Christianity so that its principles of love and justice, epitomized by Jesus’

teaching, could be embraced by everyone” (Sweetman, 2012a, p. 14).

In order to summarise this period of time historically, The Roots of Modernity and Postmodernity

(Hannah, 2004, p. 44; below) qualifies the era as having “an emphasis on the authority of reason and the

virtues of education, a deep seated optimism and commitment to an upward spiral of human

improvability, and an attempt to define religion as improved morals” (p. 44). Hannah goes on to suggest

that “When the assumptions that undergirded the late Modern Era collapsed in the twentieth century,

there was little to replace it except an even more radical emphasis on individualism, which has lead to

societal despair, meaninglessness, and relativity” (p. 44).

“When something new comes along the church usually rejects it; then they tolerate it; then

it becomes acceptable; and, finally, it becomes traditional” (Romanowski, 1990a, p. 1).

The Roots of Modernity and Postmodernity (Hannah, 2004, p. 44)

In what ways can you see the influence of historical developments from the Post

Reformational period in today’s worship contexts? Can you think of any specific examples

that display the secular seeds of Modernity as accepted Christian expression today?



Spurgeon was known as "the preaching sensation of London"(Galli & Olsen, 2000, pp. 101–102)

Key Developments in Worship (AD 1750–1900)

For the most part Protestant worship remained unchanged during this period. Having been through the

turbulent changes of the Reformation, Protestant worship was in a time of consolidation. The greatest

level of influence can be observed in the theological developments; that is Post Reformational worship

started to emphasise emotionally derived worship (observed mostly in the revivalist settings), whereas

the proceeding era of the Reformation placed its emphasis on the intellect.

The Roman Catholic Church resisted significant change to its liturgical designs until Vatican II (AD 1960s),

but substantial development can be observed in the Free Church movement. In taking advantage of the

revival settings of the Great Awakenings “the free churches were greatly influenced by the

Enlightenment’s emphasis on reason and knowledge and its rejection of tradition and superstition”

(Sweetman, 2012a, p. 15). While rejecting Liberalism outright “their worship services were rational,

personal and free from tradition” (p. 15). Sweetman identifies four characteristics of Free Church

worship (p. 15):

1. Personal Heart Experience: God moved directly in the hearts of worshippers, not through signs or symbols

or body postures or gestures or ceremonies. In fact these were seen as distractions to true worship;

taking the worshipper’s heart away from God.

2. Spontaneous Prayer: Set prayers were seen to inhibit the movement of God in worship and limit the

pray‐er. Prayers were to be from the heart.

3. Preaching and Scripture: Already

subservient to the Word, communion

became optional. The sermon (often

lengthy) was absolutely essential.

Pulpits became the central piece of

furniture in the church. The emphasis

was on the mind – worshippers

needed to understand what they

believed.

4. Communion as remembrance: With

communion being optional, the

mystical element of the communion

service was removed and communion

became purely a time to remember

what Christ did on the cross.

Perhaps the most noteworthy aspect of the above four points is the change in preaching. By the close of

the 19th century preaching was persuasive (anthropocentric) as opposed to proclamation (theocentric)

and narrative more than biblical. The preachers’ view of the congregation had also shifted, moving from

‘they should have faith…but can’t’ (inability) to, ‘they can have faith…but won’t’ (stubbornness)

(Hannah, 2004, p. 11).



Isaac Watts: The Father of English Hymnody (Galli & Olsen, 2000, p. 154)

The Emerging Prominence of Music (AD 1750–1900)

It is true to say that music has always held a place of prominence in Christian

worship but it is the manner in which music is utilised during the Post Reformational

era that sees its significance heightened; paving the way for its 20th century and

modern day treatment. In his book Te Deum1, Paul Westermeyer (1998) writes,

Until prone and Low Mass in the medieval West and parts of especially Zwinglian

Protestantism or Quaker worship thereafter, worship was always sung. Even today

Jewish synagogues, Eastern Orthodox churches, and many more other worshiping

communities treat music as intrinsic to their worship. (p. 27)

The scope of our survey is limited to reviewing a select number of historical events, important persons

and their contributions during this period:

Early Hymnody (AD 1637): A ‘Particular Baptists’ minister, Benjamin Keach, caused controversy verging

on schism by employing a sung hymn at the end of Communion.

Isaac Watts (AD 1674–1748): Often

referred to as the father of English

hymnody, Isaac Watts is credited with

the authorship of over 600 hymns.

“His hymns were strong and

triumphant statements of the

Christian faith, yet none ever equalled

the colourful imagery and genuine

devotion of this emotionally stirring

and magnificent hymn text” (Osbeck,

1996, p. 106): When I Survey the

Wondrous Cross (AD 1707).

The Moravians (AD 1722 –): Originally the Bohemian Brethren, the Moravians held to a strong pietistic

sense of community. “Moravians have always emphasized fellowship and service rather than creedal

statements…[and] their worship hymns, from many sources, play an important part” in their liturgy”

(Cross & Livingstone, 2005, p. 119). The Moravians are perhaps best known for their interaction with the

Wesley brothers: John and Charles.

After the Moravian Peter Böhler had convinced him [John Wesley] that he lacked saving faith, he

underwent a conversion experience when his ‘heart was strangely warmed’ on 24 May 1738

during the reading of Martin Luther’s Preface to Romans at the meeting of a religious society in

Aldersgate Street, London. (Cross & Livingstone, 2005, p. 1739)

1 Definition: an Ambrosian Hymn or A Song of the Church, Te Deum is an early Christian hymn of praise. The title is taken from its opening Latin words, Te Deum laudamus, rendered as ‘Thee, O God, we praise’.



Interesting Fact: Bach was hired at Leipzig only after Georg Friedrich Telemann and another (now

practically forgotten) composer refused

the post.

Johann Sebastian Bach (AD 1685–1750): Described as the “greatest

composer that Western culture has produced” (Wilson‐Dickson, 1992, p.

93), J. S. Bach was known for the expression of his Christian faith through

his countless (over 300) cantatas (“the principal musical constitute of the

Lutheran service” (Sadie, 1994, p. 137)). Bach is thought to be the last

musician of renowned earning his living solely from the church. “Indeed

Lutheran church music suffered a particularly rapid and painful collapse at

the end of the eighteenth century” (Wilson‐Dickson, 1992, p. 100).

Charles Wesley (AD 1707–1788): Known as the “greatest hymn writer of all

time” (Galli & Olsen, 2000, p. 157), Charles Wesley produced 56 volumes of

hymns over a 53 year period. Writing specifically for the Methodist

denomination Charles was renowned for his ability to write emotive lyric

which invoked high‐spirited singing.

His brother John is considered the organizational genius behind the founding of Methodism. But

without the hymns of Charles, the Methodist movement may have gone nowhere. As one

historian put it, “The early Methodists were taught and led as much through [Charles’s] hymns as

through sermons and [John] Wesley’s pamphlets.” (pp. 157–158)

Cult of the Artist and the New Middle Class (c.

1800s): It is during the nineteenth century that the ‘cult of

the artist’ started to develop. The romantic period (19th

century) expected individuality and “the arts became for

many people a means of spiritual enlightenment, even the

source of revelation. Painters, poets and musicians came

to be revered as vessels for these revelations, the

‘supreme discerners of transcendent truth’” (Wilson‐

Dickson, 1992, p. 122). Writing about the impact of the

emerging middle class Wilson‐Dickson has stated that the

“middle class was large enough and rich enough to create a

new market for cultural entertainment. In the world of

music, public concerts had been popular from the 1720s”

(p. 122).

The Mass as Performance (c. 1800s): With a growing number of “viable alternatives to commissions from

church or state…the most talented composers were able to decide on more personal grounds whether

they wished to write music for liturgy. Many decided against it” (p. 126).

The striking originality of so much music of the nineteenth century makes its relationship with the

liturgy one of controversy, the most flamboyant musical personalities creating the greatest

tensions. Berlioz’ Grande Messe des Morts (1837) and Te Deum (1849) are works of arresting

individuality, of which their vast scale is only one aspect (the Te Deum was intended for a

thousand performers). But they reflect the nature of the state occasions for which they were

intended rather than a desire to write music sympathetic to liturgical needs. (p. 128)

Josef Danhauser's painting, 'Liszt at the Piano', with its bust of Beethoven and adoring audience shows the nineteenth century's worship of composers and

performers at its peak.



Dwight L. Moody (AD 1837–1899) & Ira D. Sankey (AD 1840–1908): Perhaps the first prominent

‘Preacher/Song Leader’ team, Moody (Preacher) and Sankey (Song Leader) presented personal, emotional

communication of common human experience in their campaigns across England and America. “Sankey

led the congregational hymns and sang his solos while seated at a little reed organ” (Hustad, 1994, p.

232).

The Salvation Army (AD 1878 –):

Founded by William Booth (AD 1829–

1912), the Salvation Army employed

the same pattern of presentation as

exemplified by Moody and Sankey. In

so keeping, solo voice was preferred

over choirs for “fear that choirs confine

the singing to the few, instead of

making it the servant of the many’

(Wilson‐Dickson, 1992, p. 140).

Furthermore, “the frank emotionalism

of [their] songs and their imitation or

borrowing of secular pop music for

their purposes was offensive to more

aesthetically‐minded observers” (p.

140).

2. The20thCenturyAccording to Webber (1994a), the 20th Century began with two firmly established camps of approach

and enactment in Christian Worship: Catholic and Protestant. “Worship changes of the twentieth

century began with the rise of the holiness‐Pentecostal movement, which, in its rediscovery of the

supernatural, is regarded by many as the first post‐Enlightenment

approach to worship” (Webber, 1994a, p. 121). Commencing with

Revivalist worship, we will survey five main worship styles that

developed during the 20th Century:

1. Revivalist Worship

2. Pentecostal Worship

3. Roman Catholic Worship: post Vatican II

4. Charismatic Worship

5. Seeker Sensitive Services

It is important to note here that worship expressions such as Liturgical and Traditional have continued

to undergo change since their Reformation and Post Reformational inceptions (respectively). We will

address these worship styles (along with Contemporary, Blended & Emerging) in the next module.

William Booth was often referred to as 'The Prophet of the Poor'(Galli & Olsen, 2000, p. 300)



Revivalist Worship

Revivalist worship traces its beginnings back into the

nineteenth century. Developed around aggressive preaching

which focused on the conversion of sinners and the

sanctification of believers for daily living, the Revival service

“bore little relationship to anything biblical or historical. It

was designed to move people to God and any appropriate

means that impacted hearts could be used” (Sweetman,

2012b, p. 8).

Observed at its height during the second Great Awakening (AD 1800–1870), “it became common form

for the evening service in evangelical churches in Australia in the 1900s” (p. 8). Following the biblical

example of Peter’s preaching at Pentecost (Acts 2), the preaching is generally evangelistic with its climax

realised in a call to Christ.

Billy Sunday (AD 1862–1935) exemplified the exuberant preaching of the Revivalists. Originally a

professional baseball player, Sunday’s legendary rough and earthy vocabulary (e.g. “I don’t believe your

own bastard theory of evolution, either; I believe it’s pure jackass nonsense”) was no hindrance to his

evangelistic success. “Until Billy Graham, no

American evangelist preached to so many

millions, or saw as many conversions—an

estimated 300,000” (Galli & Olsen, 2000, p.

73).

Sweetman (2012b, pp. 8–9) has identified six

characteristics that define Revivalist worship

and their meetings. Each of the

characteristics where not only expanded

upon in the preaching; they were also

themes expressed in the lyrical content of

the songs used during the service. The six

revivalist themes are: revival, conversion,

commitment, closeness to God, passion, and

the second coming of Christ.

Revivalist Worship can still be observed today; albeit in a modernised fashion. Expressed in two forms

(Charleston and Shady Creek) Southern Baptist worship bears the influence of its revivalist worship

roots.

Charleston influence can be seen in the set order of worship, formality and dignity, hymns focusing on

God, and sermons characterized by learning and piety, head and heart. Sandy Creek influence manifests

A 1930s Tent Revival Meeting

Among Sundays’ famous quotes is the well‐worn "Going to church doesn’t make you a Christian any more than going to a garage makes you an

automobile” (Galli & Olsen, 2000, p. 73)



itself in gospel hymns and songs focusing on the spiritual state of the worshiper, extemporaneous

prayers, folksy informality, and fiery evangelistic sermons that leave ample room, even if carefully

prepared, for spontaneous improvisation prompted by the Holy Spirit. (Shoemaker, 1993, p. 75)

As Shoemaker has suggested above, Revivalists valued (and continue to do so) spontaneity and

openness in their liturgical design; allowing the order to follow the Holy Spirit’s leading. Therefore the

following order of service, “typical of a Southern Baptist service

in the mid/late twentieth century” (Shoemaker, 1993, p. 76),

should only be prescribed loosely:

Prelude

Call to Worship (choral or spoken)

Hymn of Praise

Invocation

Welcome and Announcements

Scripture

Pastoral Prayer

Offering

Anthem or Solo (instrumental or vocal)

Sermon

Hymn of Invitation

Presentation of ‘Decisions’

Benedictions

Postlude

The undisputable strength of this style of worship is its clear

evangelistic thrust, with God using it as a vehicle to bring many

into his kingdom. Contrasted against the more reserved and

conservative Liturgical and Traditional worship styles, the

emotive drive of the Revivalist’s (and that of the Pentecostals)

made it an engaging experience. Simply, its main appeal was to

the uneducated; requiring no intellectual response. Indeed the

only response required was that of the heart.

Arguably, the weaknesses of this style are outlined in its strengths. Biblical worship is not merely

evangelism, and at times the style has been accused of theological imbalance and unethical behaviour.

The emotive experience is also susceptible to manipulation. “When feelings become the major measure

of worship and conversion the most desired result, methods that achieve these goals become

sacrosanct…The ends are seen to justify the means” (Sweetman, 2012b, p. 10).

Danville First Church of God: this ministry began with a tent meeting on July 7, 1936. The revival lasted 15 weeks and over 300 people

were saved!



Pentecostal Worship

The roots of Pentecostal worship are found in the

Holiness movement which originated in the work of John

Wesley and Methodism. “Methodists were well‐known

for pursuing intense religious experiences and for ‘raising

the shout’ when they ‘broke through’ and experienced

grace” (Blumhofer, 1994, p. 105). While Pentecostal

worship appropriated many of the hymns of the Holiness

movement, using lyric which was intended to express

God’s sanctifying grace; the contextual outworking of the

theology was often quite different.

[However] like the Holiness movement, Pentecostalism thrived in contexts that encouraged spontaneity

and individual expression. What was perceived as corporate worship might alternatively be described as

simultaneous individual worship. Pentecostals perhaps met together as much to pursue individual

experiences as to express corporate solidarity as the people of God. Their corporate unity tended, then,

to be more apparent than real, except during sporadic opposition. Referring to one another as “brother”

and “sister” on the surface seemed to cultivate a sense of family unity, but that was not generally

reflected in worship style. (p. 106)

Sweetman (2012b, pp. 6–7) outlines five ways in which Pentecostal worship differs from evangelical

worship2:

Unstructured: Structure was seen as inhibiting spontaneity and was thought to ‘quench the

Spirit’. There was an expectation that the Holy Spirit would lead the service.

Participatory: Early Pentecostals placed a high emphasis on congregational participation.

Everyone was encouraged to initiate a song, speak in tongues, bring a prophecy or pray for a

healing.

Energetic: Pentecostal worship places high emphasis on physical worship with lots of actions

including clapping, waving, dancing, shouting, raising hands, marching and falling (in the Spirit).

The congregation were even expected to engage with the preaching by calling out responses and

affirmations.

Experiential: The goal of the worshippers was to experience God in the worship. This might come

in the form of a heightened sense of God’s presence or a physical manifestation of God’s power.

Emotional: The worshippers gave public expression to their emotions in worship. Whether with

tears, shouts of joy or deep silence, the expression of feelings was encouraged.

2 During the 20th Century it became common vernacular, when discussing church and worship matters, to differentiate between Evangelical (mainline protestant: Baptist, Church of Christ, Methodist etc.) and Pentecostal (Assemblies of God, Christian Outreach Centre etc.). With the advent of the Charismatic renewal (1970s) the hybrid expression ‘Charismatic Evangelical’ became common in describing Evangelical churches with a Charismatic expression of worship.

Pentecostalism originated in the 1906 Azusa Street Mission Revival, Los Angeles (pictured above)



Despite the aim and claim of ‘unstructured’ worship, the pattern

(structure) of Pentecostal worship is relatively common amongst the

worship style’s adherents. Calvin Johansson (1993) outlines a basic

pattern of Pentecostal worship that “centres around the gospel and

takes into account the Pentecostal historic heritage” (p. 177):

Preparation for Worship: The means of preparing for worship

might include a Saturday (or mid‐week) intercessory prayer

meeting for the impending church service. Additionally, individual

fasting, confession and penitential actions are encouraged.

Opening Acclamation: This is an opportunity to affirm the sacred nature and purpose of the meeting. The

acclamation may take various forms:

A brief scriptural statement (e.g. Ps. 41:13 or 72:18–19)

Call to worship (Ps. 95:1, 99:5 or 100:4)

A song by the congregation and/or choir

Invocation: A gathering prayer which sets the stage for what is to take place.

Songs of Praise: A period of congregational singing with clapping, dancing and raising of hands. This

section can take up to an hour to complete, but is more commonly conducted as a twenty to thirty

minute set (20‐30mins).

Prayers of the Assembly: Praying as a community of believers with fervour and intensity on a wide range

of topics; often directed by the peoples spontaneous petitions.

Pastoral Greeting: An informal welcome to all, especially newcomers.

Congregational Witness: Shared praises, admonitions, and words of edification and encouragement by

members of the assembly give a sense of family community. Persons may be asked in advance or invited

to share extemporaneously.

Giving of Tithes and Offerings: Often accompanied by a congregational song or

a presentational piece by a soloist or choir.

Communion: Many Pentecostal churches observe the Lord’s Supper weekly.

The people may come to the altar to receive the bread and cup, or the ushers

may distribute them at the appropriate time. Silence is often observed during

the distribution and partaking of the Lord’s Supper.

Sermon: The sermon, most often delivered by the senior pastor, may or may

not be in line with any predefined theme for the service.

Invitation/Altar Call: Often in response to the sermon, a call for response is

given. Here individuals are invited to respond to an invitation for salvation,

anointing with oil (healing) or other general needs requiring prayer.

Respondents are often invited to the front (altar) to receive prayer.

Closing Song: The subject matter of this song will depend on circumstances. It

might be one of invitation, praise, or benediction.

Critique:

What are the strengths of Pentecostal

Worship? What are the possible weaknesses?

The Altar Call at the end of a Pentecostal Service



Roman Catholic Worship

While seeking to grapple with the impact of modernism the

Roman Catholic Church chose to face the challenge of

theological reform under the leadership and direction of

“Pope John XXIII (AD 1958–1963), who convened the Second

Vatican Council; the Constitution on the Sacred Liturgy

formulated by Vatican II set the stage for worship renewal

not only within the Roman Catholic sphere but within other

Christian communions as well” (Webber, 1994b, p. 317).

Our focus for this study is predominantly the lineage of Protestant worship; nonetheless there are a

number of noteworthy points that we will consider here given their far reaching impact on Roman

Catholic and Protestant liturgy alike. Webber (1994a), in his text Worship: Old and New, has remarked

“the impact of worship renewal [has] affected the mainline Protestant church. Mainliners have drawn

from the Catholic worship renewal and have expressed a hope for a unified worship among all

Christians” (pp. 121–122).

Consider the following points and their impact on both Roman Catholic worship and the wider Christian

community3:

Ecumenicalism: Vatican II encouraged dialogue with Protestant denominations and the Eastern Orthodox

Church. “The ecumenical orientation of Vatican II opened Catholics to learning from, and cooperating

with, biblical scholars outside the Catholic Church” (Vanhoozer, Bartholomew, Treier, & Wright, 2005, p.

103).

Reforms in Tradition: The practicalities of Vatican II are observed mostly in the reforms of traditions. “The

council made optional some traditional expressions of Catholicism—Latin in the liturgy, meatless Fridays,

Lenten fasts and abstinence, the cult of the saints, and the regular practice of confession to the priests”

(Eckman, 2002, p. 99). Many have argued that these changes have removed the distinctive characteristics

of Roman Catholicism.

Congregational Singing: With the liturgy permitted in the vernacular congregational singing was renewed

with greater opportunity for participation by the laity. Parishes have therefore been permitted by the

Vatican to independently choose “particular missalette, hymnal, or songbook[s] which that parish

[chooses, applying] the liturgical style and interest of the clergy and musicians. In addition, it is not

uncommon today for a parish to supplement published music with unpublished compositions by

musicians within the parish” (Haugen, 1994, p. 368)

3 “The liturgical reform of the Second Vatican Council has been the single most concrete and dynamic change within modern Roman Catholicism. The Magna Carta of this reform is the Constitution on the Liturgy, Sacrosanctum concilium, issued on December 4, 1963…This document was not only the first fruit of Vatican II, but also was one of its major contributions to the internal renewal of Christianity. Such importance, at least for the Catholic church, was stressed by Pope Paul VI when he promulgated the constitution: “Treated before others, in a sense it has priority over all others for its intrinsic dignity and importance to the life of the Church” (Address, December 4, 1963)” (Martinez, 1994, p. 108)



Charismatic Worship

It has been said that the Charismatic movement has impacted nearly

every modern denomination (Riss, 1994, p. 121). The Charismatic Renewal

developed during the mid twentieth century within the mainline

denominations. Sometimes referred to as NeoPentecostalism (due to its

similar worship expressions – raising of hands and speaking in tongues

etc.) the Charismatic movement often commenced within churches as a

‘prayer service’. “The central purpose of the charismatic prayer meeting

was considered to be worship. One of its distinctive features was

spontaneity; there was no prescribed agenda, and anyone could

contribute” (Riss, 1994, p. 122).

Sweetman (2012b) furthers the description of Charismatic worship when he writes,

Their worship was a mixture of traditional worship liturgies and orders of service with a more physical

style of worship (raising hands, dancing) and the opportunity to use spiritual gifts (praying for healing,

exercising prophecy, speaking in tongues, etc.). The worship styles in the charismatic movement varied

greatly according to their worship tradition, but they held strongly to these commonalities. (p. 13)

Specifically, the surging two decades of the charismatic movement, the 1960s and 70s, are identified by

the following seven characteristics (Burgess & McGee, 1988, pp. 693–694):

1. Emphasis upon singing of psalms and Scripture songs

2. Reliance upon music for praise and worship in church, at conferences and festivals, in small groups,

and in private

3. Use of musical instruments

4. Emphasis upon congregational singing with the use of praise leaders

5. Use of dance and pageantry, both spontaneous and choreographed

6. Use of drama and pantomime

7. Emphasis upon the prophetic role of, or anointing upon, the musicians.

The 1980s played host to the Third Wave movement. “Heralded by individuals

like John Wimber (AD 1931–1997) and Fuller Seminary professor C. Peter

Wagner (b. 1930), the third wave movement identified ‘the signs and wonders’

of the New Testament book of Acts as legitimate demonstrations of God’s

power today” (Eckman, 2002, p. 98).

One significant developmental spin‐off of the third wave movement was the music. Known as the

Praise and Worship movement, “the ideology central to the composition of the Chorus (Praise and

Worship Music) was not dissimilar to Wesley’s approach to the evangelical hymn. The ultimate aim

[was] to heighten accessibility and therefore participation through the emotional engagement of

congregational members” (Robinson, 2011, p. 29).

Charismatic Worship: Mass at the 'Cathedral of the King' in

Manila

John Wimber (AD 1931–1997)



The Five Phase Worship Pattern (Liesch, 1988, p. 92)

The genesis of the modern worship song can be traced back to black gospel as well as Ira D. Sankey use

of the gospel music idiom during the 19th century. Gospel music, and its use among revival evangelists

and Pentecostals, was standard until the mid‐twentieth century. Horace Clarence Boyer (2000) states,

Gospel music was selected as the illuminating force behind this theology and developed over all other

types of sacred music. When hymns were sung by these congregations they were ‘gospelized.’ Services

were nothing less than ecstatic with forceful and jubilant singing, dramatic testimonies, hand clapping,

foot stamping, and beating of drums tambourines, and triangles…It was not uncommon for a shouting

session to last for thirty or forty‐five minutes. (p. 19)

Developed as a direct response to the folk music idioms of the 1960s and 70s, the Worship Chorus had

its beginnings among the counter‐cultural charismatic movement known as the ‘Jesus‐people’. The

lasting impact of the worship chorus as an idiom is undeniable with its inclusion almost universal among

Roman Catholic and Protestant churches alike. When commenting on the musical genre’s impact, Dan

Wilt (2009) writes,

Modern worship songs have emerged as a primary discipleship vehicle, guiding contemporary churches

on their courses over the past fifty years. These songs, and the churches that enlist them, have grown in

influence and number, radically impacting the grass roots of Christian faith in our generation. (p. 144)

For many churches the use of the modern chorus has not altered their liturgical design; that is, choruses

have been assimilated into the existing liturgy replacing hymns. In fact recent research has found that

“churches used both worship choruses and hymns with only 18% (n15/83) using only worship choruses”

(Robinson, 2011, p. 115).

One denomination that has historically used only worship choruses is The Vineyard movement.

Eddie Espinosa and John Wimber, pastor of The Vineyard, developed a five‐phase pattern for their

‘worship set.’ In their worship services, the choruses were short, and their worship set was long. Rather

than singing songs in random order, they recognized the need to smoothly link the many choruses and

provide a sense of progression. (Liesch, 1995, p. 245)

The Five Phase Worship Pattern has

(as the name suggests) five distinct

periods of worship. The scriptural

support of the design is found in

Psalm 95 (pp. 245–246):

Invitation: “Let us sing for joy … shout aloud.” Engagement: “Let us come before him with thanksgiving.” Exaltation: “For the Lord is the great God … the mountain peaks belong to him.” Adoration: “Come, let us bow down … let us kneel.” Intimacy: “For we are the people of his pasture, the flock under his care.”



Seeker Sensitive Services

It may be apparent by now, having worked through the

developmental history of Christian worship that new forms

and liturgical designs have almost always emerged as a

reaction or modification to existing models; in this, the

Seeker Sensitive model is no different.

With the consolidation of the American middle class during

the mid to late 20th century came the decline in church

attendance. Recognising that middle class Americans seemed to be disenchanted with the church, Bill

Hybels conducted a survey of his local community. He asked people why they didn’t currently attend a

church. The responses fell into four main categories (Vassallo, 1998, p. 279):

1. The people felt churches were always asking for money.

2. The people said that sermons were boring and the services routine.

3. The people saw no relevancy between church and real life.

4. The people responded that pastors made them feel ignorant and guilty.

With these responses as a guiding charter, Hybels founded (AD 1975) Willow Creek Community Church

(South Barrington, Illinois) and the seeker sensitive service was born. Vassallo (1998) offers the following

defining characteristics of the model noting that seeker sensitive services may vary in form (p. 280):

Religious terms or buzz words, that regular attenders are familiar with but that leave the unchurched scratching their heads, are eliminated.

Music with a contemporary sound is used with words being projected on a screen or at least handed out. Assume that seekers have never heard the songs you’re asking them to sing.

A topic that relates to everyday living is chosen. The catchy title is publicized in advance.

Drama and film clips are often used to set up the topic as a launching pad for the sermon.

The sermon is informal and is delivered more in the style of a chat rather than as a fiery oration.

Little is said about giving money. In fact, visitors are often told not to contribute to the offering.

Visitors are given an opportunity to fill out a card (if they wish to) but are not put on the spot by being asked to wear a visitor’s tag.

Seekers are directed to an area afterward where they can meet with someone to ask questions and discuss the service.

Founder and Senior Pastor, Willow Creek Community

Church



Having explored the developmental histories of Christian worship, identify and write

down at least one aspect of worship design from each 20th century worship style

(Pentecostal, Revivalist, Roman Catholic, Charismatic, Seeker Sensitive) that influences

your current approach to corporate worship.

The design of the seeker sensitive service is overtly focused on the unbeliever (seeker, unchurched). The size of many churches employing the seeker sensitive service attests to its strengths, but many have criticized the model claiming that it is not ‘worship’ in the traditional sense. White (2000) suggests the seeker sensitive service

…may not be considered worship at all but a form of evangelism. It begins with a musical performance in

a familiar style which often alternates with a skit or monologue to present and resolve an issue with

which seekers may be wrestling. The talk that follows pursues this issue further, sometimes using a

scriptural basis, sometimes not. (p. 165)

Recognising the short‐comings of the model, Willow Creek opened mid‐week services which they called

‘new community’. These ‘believer focused’ services employed a more intense

worship set.

Most recently, Willow Creek has abandoned its seeker sensitive focused services;

gearing the “weekend services toward mature believers seeking to grow in their

faith…and replac[ing] its midweek services with classes on theology and the Bible”

(Branaugh, 2008).

Perhaps the lasting ‘positive’ effect of the Willow Creek model on modern church

constructs (across denominations) is its heightened awareness of unbelievers that

might attend corporate worship. John Frame has recognised that many modern

“churches…seek to make worship intelligible to any unbelievers who may be

present (1 Cor. 14:24–25) through friendliness and informality and through

contemporary music and language. These churches sometimes describe

themselves, in the context of the Willow Creek discussion, as “seeker‐sensitive,

but not seeker driven” (Frame, 1994, p. 62).

Critique:

Why didn't the 'Seeker‐Service' gain traction in

Australia?



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