CHAPTER ONE

INTRODUCTION

1.1 Background Of The Study

Music is an aesthetic art. Music is a performing art that is closely related to the visual and the creative
arts. Generally music is the combination of sound, well arranged and pleasant to the ear. Music as an art
has added to the success of individuals who participate there in, usually as a musicologist, musician,
music producer, performer and the consumer of the production. Music has rightly boosted the economy
of different nations in terms of entertainment and tourism. With all the benefits of music contemporary,
music has a wide influence on the youth energizing them to do a lot of things both positive and negative.
Music is an empowering tool for the music practitioners and revenue for concert hall and event center
owners.

Christian music has influence on the society and a great tool for the growth of the church. But if it is not
properly utilized it can cause damage to spiritual worship and destroy the expected growth of the
church. Even the musical instruments can be misused during spiritual worship. Such misuse drowns the
message of the songs with excessive loudness and too much focus on entertainment than spiritual
worship. Christian music brings an aesthetic, discipline, professionalism on every concept of
performance. In fact, most musicians in the music industry or entertainment world had their first
training as a choir boy and musician from the church. But the contemporary Christian music does not
seem as effective for worship as it should be today. This is what is moving the researcher to look closely
into the effect of contemporary music on church growth.

1.2 Statement Of The Problem

Music should enhance worship, magnify God and nourish the body of Christ (the church) but the
problem today is with the contemporary gospel singers and musicians. A lot of contemporary singing
does not carry spiritual depth as it should be. Sometimes the message of the gospel is lost in youthful
enthusiasmwhich may not enhance spiritual worship. Solemn music that tunes the mind to God in full
worship and soberness has been compromised. Why it is that gospel music is now commercialized? Why
is it that we have mere entertainers in the gospel music more than genuine ministers? Is it not strange
that the spiritual dimension of worship is moving far away from the church? Instead of most people who
go into Christian music in contemporary times to edify the body of Christ, they even make people
backslide. How many vibrant gospel musicians have been swept away from the faith today? Is it not
affecting church growth? It is rich in sophisticated musical instrument but shallow in the impact it makes
for Christ. Is it promoting entertainment or the gospel worship? Contemporary music is having a serious
effect on church growth, but is it positive or negative? That's the issue the project is seeking to explore.

1.3 Purpose Of The Study

The researcher is interested in calling the attention of the gospel musicians and listeners to the effect of
the contemporary music on worship and on the church growth to see whether it is positive or negative.
The researcher also wants all gospel musicians to ensure their music enhances deep spiritual worship,
pointing people to genuine repentance, ensure development of Christian character and focus their mind
in hope of Christ.

1.4 Significance

This research work will benefit contemporary gospel musicians, church choirs, instrumentalist and the
individual Christians to enjoy and promote spiritual worship. Church pastors and gospel ministers will
find this work useful in guiding their congregations towards genuine Christian worship. Emerging
Christian musician will find this work beneficial to their career and ministry.

1.5 Delimitation

The project is not to correct all the contemporary music in the world, is not criticize to all gospel music,
but it is limited to one or two churches around and so it does not cover all issues of the contemporary
gospel music.

1.6 Limitation

All questionnaire distributed could not be retrieved, and some questionnaires were returned back
unfilled. Furthermore the project is limited to the short period of time to fulfill academic requirement.
After all the analysis of the responses, there is alot more room for research work to continue beyond
this project.

1.7 Research Procedure

1.8 Definition Of Terms

The following terms are the definition of terms use in the project

Contemporary music: Music of the 21 st century.

Gospel: message of Christ.

Gospel Music: Gospel music is music that is written to express either personal or a communal belief
regarding Christian life.

Musicians: set of people who play the musical instrument.

Hymnology: The study of hymns.

Liturgy: songs used for service.

Performance: act of performing music on stage.

CHAPTER TWO

REVIEWOF RELATED LITERATURE

2.1 What is Music?

According to Oladele

Music is commonly defined as an arrangement of sounds in such a manner that makes meaning to the
hearers. Music is sound ordered in time. Music originates with a sound source; a composer or performer
who organizes and creates the sound using some form of instruments. The sound travel through the air
as sound waves until they reach a listener. The listener takes in the sound waves through ear. At this
point, the sound becomes a stimulus that is received by the brain and interpreted as music.1

There are several definitions on music; the above is just one of them which seem to be more
comprehensive.

Oladele also continues to explain more about music in the Christian way:

Music is considered crucial to success in life and ministry that Martin Luther suggested that young men
should not be ordained as preachers unless they had been trained in music. Music is a ministry - which is
potent to unite the body of Christ in vertical raise to God horizontal edification of the church. 2

Martin Luther suggested that young men should not be ordained as preachers until they are trained in
music to show the importance of music in church ministry. Young minister trained in music will unite the
body of Christ. Music portrays the way of life of a group of people and it serves as one of the most
effective conveying a message from source to destination. Also from a journal, Ekweme said,

Music plays a vital role in human society. It involves entertainment and emotional release, and it
accompanies activities ranging from dances to religious ceremonies. Music is heard in many places; in
auditoriums, homes, sport arenas, streets and places of worship.

Recorded performance is a sensational innovation of the twentieth century. Today, the internet gives
access to a practically unlimited variety of recorded sounds and images. Portable audio and media
players permit us to hear and watch what we want, wherever we want. E.g pdf of musical sheet of
hymns, various songs and instruments.
Live performances provide special excitement. In a live performance, artists put themselves on the line;
training and magnetism must overcome technical difficulties to involve the listener’s emotions. What is
performed, how it sounds, how the artist feels about it that time- all these exist for a fleeting moment
and can never be repeated. An audience responds to the excitement of such a moment and feelings are
exchanged between stage and hall.

One’s response to a musical performance or an artist is subjective and rooted in deep feeling. People
listen to music in many different ways. Music can be a barely perceived background or a totally
absorbing experience.

Music as a concept is a worldwide phenomenon. It is practiced all over the world. Western art music
started and developed in Europe in the middle ages by the church until it moved away to the masses in
the 17th century AD. The church was largely instrumental in the development of music as an educational
discipline. The monks made monumental contributions in developing a notation system and musical
forms that have endured till this day. With industrial revolution and the invention of printing machine,
music was printed and disseminated beyond the frontiers of the known world (Europe) at that time.
Music was taken along as people migrated throughout Europe and the new world. One important factor
in that country was the establishment of music in public education. Music was no longer the exclusive
reserve of the church and nobility particularly the former. Individual from the peasant class gained
access to studying music, learning to play various musical instruments including the piano that was just
invented. The establishment of concert halls and other avenues for performances and community
participation made music strive and much more popular. 3

Lucy in a simple way gave the development of music from 17 th century from monks to the training of
musicians and to the latest establishment of concert. Truly music has been made popular till today from
traditional music to contemporary

Music.

Music as language

According Roger,

Music is a language, a form of communication. It can elicit emotional responses and provoke thought,
but it cannot signify concrete things or ideas in the manner of nouns, verbs and adjective.
Music is a performing art that is closely related to the visual and the creative arts. Hence every human
being, no matter one’s handicap, benefits from the art. The blind listen to music and enjoy the beautiful
sounds of the voice, the drums and the other instrument; even though he’s handicapped visually. While
the deaf enjoy the visuals, but have difficulty listening to the sounds. The physically handicapped e.g. the
lame, though may have problems of dancing or taking active part in the performance, but still benefits
from the visuals and the audio.?

2.2 The Types of Music

Music generally is classified into two namely secular and sacred music; secular is saidtobepopularmusic
for the consumption of the general society while sacred music is said to be for the consumption for
religious purposes . According to

Ademola;

In Nigeria, globalization has led to emergence of certain contemporary idioms which are classified into
distinct categories, namely neo-traditional music, indigenous church, ritual music. Ceremonial music is
the type of musical type that is often heard at public ceremonies. Social music perhaps is the most
widely used musicin Nigeria urban centers. It is the music used at various activities connected with life
cycle (i.e birth, puberty, marriage and death). It is also used to give moral, mental and social education
to young and old members of the society.

Recreational music covers all music used purely for the purpose of enjoyment or personal satisfaction. It
is also referred to as functional music which includes variety of work songs.

Traditional music is inseparable and organically linked with the life of Nigerian people.

Religious music is another type of Nigerian popular music which is attributed to the religious
consciousness, which seems to have pervaded Nigerian societal life.

The proliferation of churches and mosques ha reached such alarming proportion that from city to town
and village this scenario has become a common thing given the powerful religious polarity (i.e traditional
religion contesting with both
Christian and Islamic religious practices). 5

From among the religious music, we have the Christian, the Islamic and the traditional religious music.
Christian music has developed further forms with different pattern.

2.3 Concept of Gospel Music

Gospel music is a style of religious singing popular among African-Americans and other black people
worldwide. The term gospel is generally assumed to connote the Christian religious music, its genre are
numerous, Juju, Soul, Rock and Choir.

The only unifying factor between all these assorted types of music is the message, the message of
salvation of Christ. Gospel music is largely used by Evangelical churches for worship, praises, revivals,
deliverance services and concerts.

Gospel music must have the element of preaching in songs about repentance, love, grace, and bringing
hope for sinners in Christ Jesus and edification of the body of Christ (church).

Gospel music divided into two, the hymnody and the performance. Gospel hymnody was a popular body
of American religious song associated with urban revivalism, which arose in the 19 th century spreading
through the missionary activities to the church on every continent. Gospel hymnody may also popular
be viewed as the culmination of various American musical social and religious development of the
earlier part of 19th century.

The performance referred to as gospel music was a religious type of folk or popular music and its
performing style is related to that of secular folk and popular genres as well as to revivalist styles of
preaching and praying.

Christian music as a general term used to describe the agglomeration of music used in Christianity, be it
church, Para church, non-church organizations and other settings; church music and gospel music are
separate but

Interrelated categories of this religious form. While church music is limited to church liturgies and
activities, gospel music is principally for soul winning.
According to Adedeji

Nigeria gospel music could be redefined as a Christian musical genre originally aimed at propagating the
gospel of Jesus Christ but not necessarily limited to it in practice. By content it contains praise,
thanksgiving and adoration of god, admonition, comfort, prayer, entertainment of saints, religious,
social and moral values, general Christian doctrines and socio-political commentaries. 6

2.3.1 Categorizing Nigerian Gospel Musicians

Nigerian gospel musicians in terms of coverage can be categorized as local, national and international
(Adedeji, 2004). The local ones are based in local geographical locations in the country. Their operations
which are ethnic bound, though obscure, are significant contributions at the grass root level. The
national artistes perform across the country and at national events, release albums which are also
broadcast on Radio and television. Popular in this category are Lani Stephens and James. O. In the
North; Oluchukwu Okeke an Stanley Kaosi in the East an Bisi Adedini, Toun Soetan and Timi Osukoya in
the West, just to mention a few.

There are two categories of gospel artistes that have attained international status. These are home-
based international artistes and the ones in the Diasporas. Both are contributing to the development
and promotion of the genre at the global level. The former includes artistes like Evangelist Sonny
Okosuns, Ebenezar ObeyFabiyi, Bola Are, Kunle Ajayi Albert, Panam Percy Paul, Sammie Okosio and Asu
Ekiye. These artistes minister abroad on invitation apart from their albums which are also sold there in
thousands. Their works have made the world to reckon with

Nigerian variant of gospel music as a serious spirituo-musical art. Some of the artistes in the second
category are Kingsley Ogunde, Dizzy K. Falola, Revs. Olu

Iwolodo, Shola Rotimi, Tim Tosh, and Brothers Lazarus and Emmanuel of Voice of the cross fame. These
artistes and others are based in United State of America,

Britain, Canada and South Africa ministering on full time basis.

2.3.2 Types of Gospel Music: (Forms and styles)

“Gospel music started to manifest itself in the church as a type of church music during the 1960’s . It has
since developed into urban socio-religious music”. 7

Also Ademola added

There are two types of gospel music in Nigeria; the African

American type and Nigeria or local type. The origin of AfricanAmerican gospel music is traceable to the
Nigerian hymnody, a body of American religious songs associated with urban revivalism in the 19 th
century. This type of church music grew out of songs sermon. Although gospel music is sung both by the
white as well as the black churches, it is the African-American type of gospel music that attracted
Nigerian singers. It was therefore directly imported from the United States of America as its style of
rendition in Nigeria is quite similar to that of African-American style.

Gospel music became popular in Nigeria through the musical activities of some Pentecostal churches in
the 70s. Notable among these churches was the late archbishop Idahosa’s church whose choral group
was well known for its performance of African-American type of gospel music. The local gospel music
developed in Nigeria just about the same time African-American gospel music was imported to the
country. One of the uniqueness of this brand of gospel music is its lyrics, which not only deal with
religious matters but also philosophical comments, apart from the use of traditional musical
instruments, sophisticated musical equipment such as synthesizer and digital sequencer have also been
introduced into the performance of local gospel music. The most known prominent of the local gospel
musicians in the south west are Mrs Fasonyin, late Bayo Adegboyega, lady Evangelist Toun Soetan , Bola
Are and in the recent time evangelist Ebenezar obey-Fabiyi, among non -yoruba gospel singers are late
Sunny Okosun, princess Okeke, Moses Agatha and Kingsley Ike.

He narrated the history of gospel music from the Americans to Africans. “One of the most controversial
areas in Christian music scholarship today is the forms and styles that should be used”.

For instance, each Christian denomination has its own accepted musical forms and styles. While some
church denominations accept hymns, some prefer gospel, others choose native airs, and so on. But the
Bible is not totally silent on the forms and styles of music that should be used by Christians. Ephesians
5:19 and Colossians 3:16 identify “psalms”, “hymns” and “spiritual songs”. Martin (1964:47) attempted
their definitions and distinctions when he writes: Psalms may refer to Christian odes patterned on the
old Testament Psalter. Hymns would be longer compositions and there is evidence that some actual
specimens of these hymns may be found in the New Testament itself. Spiritual songs refer to snatches of
spontaneous praise which the inspiring spirit placed on thelips of the enraptured worshipper as 1
Corinthians 14:15 implies. Considering Martin’s explanations, we can then concluded that psalms in the
contemporary sense are chants composed in the spirit, style and form of Biblical psalms. They can either
make direct use of Biblical psalmic texts or adapt similar texts, but they are chanted as in plain chants.
Hymns are strophic, metrical and syllabic solemn songs. These are the most important of all the sacred
forms today. This is because they retain all the qualities of Christian sacred music. They are highly
theological and their normal performance is devoid of side attractions. Spiritual songs may be
interpreted as encompassing diverse contemporary Christian forms and styles other than chants
(psalms) and hymns. However, such songs should possess all the required spiritual qualities in order to
make them truly sacred. Some of these styles include among others “spirituals”, a-cappella, anthems,
canticles, carols, mass and gospel. The area of greatest controversy is the use of secular beat styles like
rock, jazz, blues, and other “popular” and “pop” styles.

For instance, evangelist Sonny Okosuns in Nigeria, an internationally acclaimed reggae artiste that now
turned gospel singer, is using his gift and style to minister several secular artistes and reggae addicts. But
then there is still need for a caution here. Despite the a fore-mentioned, it is unethical for Christians to
bring in mannerisms, nuances and idiosyncrasias of secular artistes into their ministrations, which are
supposed to be spiritual. For instance, it is abominable for a Christian singer whether in
or outside the church, to imbibe Bob Marley’s antics and lifestyles in their music ministrations. It is
important at this juncture to make some clarifications. It is not compulsory that a particular church
should make use of all categories of forms in its liturgy. At the same time, a church denomination, which
favors the use of one style, has No moral justification in condemning another church denomination,
which prefers another form, once it is one of the Biblical forms. To mind, on the contrary, a particular
church denomination may make use of the categories as dictated by contexts.

Church sacraments such as the Lord’s Supper and baptism require the use of very solemn forms. Psalms
and hymns would be more appropriates. Lyrics airs would be suitable for revival meetings while gospel
airs would be ideal for other Christian non-liturgical functions.

2.3.3 Conventional And Traditional Music

Conventional and traditional music as used in this writing connotes the old forms and ways of singing in
are of the old and orthodox churches.

Adeleke said

The liturgical way and conservative singing with the founding fathers is complex where hymns and other
spiritual songs are powerful fools in the attainment of the required inspiration for church worship;
unfortunately most churches in the contemporary world do not appreciate this and are gradually
reducing or removing it from their worship.,9
Below are some are some of the conventional and traditional music forms

Hymnology: The study of sacred hymns and how it can be used in worship. It is generally believed that
hymns will bring purity of heart and joyfulness in the spirit. The use of hymns in worship service reflects
the spiritual vitality of the church and congregational response to God’s love, grace and fellowship.

Liturgiology

Liturgy (Gr. Leitourgia) means “work of the people,” and is in reference to the worship service of the
people honoring God. In Pentecostal congregations, liturgy is often called the “order of service”

Purpose of Liturgy in spiritual worship

It maintains sacredness in worship. It brings people to God in orderliness. It shows awesomeness of God.
It brings reverend to God. Removing Liturgy and hymns from spiritual worship may bring less
connectivity to God and less of orderliness.

2.3.4 Contemporary Music

Contemporary is the new age trend, fashion and art in vogue.

According to Opeyemi

In contemporary time, music has put on a new garment. The younger folks prefer different melody and
beat to their suit taste. Hence, the music of the past is termed old fashioned. However, for some
churches to be seeker friendly and reach the younger generation, the church music style is adjusted to
meet their needs. Contemporary Christian music comes with different variety of musical styles in the 21 st
century in form of country Rock, Gospel Rock, Raggae, Jazz e.t.c all saturated with Christian lyrics. Many
church leaders make emphasis on the song but the message of the music matters. 10

The music should bring the message of purity. Brotherly love, hope the Christian, honor and respect.
When music is destructive and promotes immorality it stimulates rash behavior, pride and self. These
are some of the dangers of contemporary Christian music.
2.4 What is Worship?

Worship is the primary and eternal activity of the redeemed humankind, after his

Conversion into Christian faith. Worship foundation requires that we need the depth of our being to
seek god in adoration and generously submit to him with our heart, soul and might. Worship is the
offering of our faculties to sing praise and

Glory of God. The awareness of God should result into some degree of adoration and prayer of
thanksgiving. It is more than the use of mouth only; but a product of the heart, mind and of the will as
well. Essentially, it is the offering of the entire being to god in sweet adoration.

Rob Harbison defined “worship as a sacred spiritual exercise that links man with

God through the expression of an adoring heart”.

According to Peter

To sum up, worship is therefore the expression of our gratitude and appreciation to God. It is a means to
acknowledge His authority as creator of the universe as well as the savior of our souls. For this and other
reasons, worship is of the highest priority for the believer as well as the corporate church. 11

Also Warren said

The church exists to worship God. How do we love God with all our heart? By worshiping him! It doesn’t
matter if we’re by ourselves, with a small group, or with 100,000 people. When we express our love to
God, we’re worshipping. 12

The Bible says, “Worship the Lord your God, and serve him only” (Matt. 4:10). Notice that worship
comes before service. Worshiping God is the church’s first purpose. Sometimes we get so busy working
for God; we don’t have time to express our love for him through worship.
Throughout scripture we’re commanded to celebrate God’s presence by magnifying the Lord and
exalting his name. Psalm 34:3 “O magnify the Lord with me and let us exalt his name together.” We
shouldn’t worship out of duty; we should enjoy expressing our love to God.

Spiritual worship is the worship inspired by the Holy Spirit. In this context, spiritual worship streamline
to music in worship. Inspired music in worship has been instrumental in myriads of exploits in words,
healings, miracles, deliverances and many more. “In Rick Warren’s book titled “Purpose driven Life” he
note that every part of a church service is an act of worship. These include praying, scriptures reading,
singing, confession, listening to sermon, taking notes, giving offering, baptism, communion, ushering
and fellowship.

2.4.1 Types of spiritual worship

Jerald said

The five worship styles found in Church congregations include the following; Liturgical, Traditional,
Contemporary, Blended, and Emerging.

In Liturgical Worship, major denominations and churches that have been doing worship in the same way
for decades are discovering that their methods are no longer applicable for their multigenerational and
multicultural congregations. They have turned to the past to seek new ways to minister to their
congregations. One of these “new-but-old-ways” is Liturgical Worship. Towns added that liturgical
churches use historical creeds and ancient hymns, often employing the use of the English Psalter.
Liturgical Worship places a heavy emphasis on a liturgy that follows a similar structure each week,
emphasizing Communion. Cherry also added that Congregational song is important in liturgical churches
as they emphasize ancient hymns and anthems, classic prayers, the use of symbols, and it is highly
participatory. 14

There are few liturgical services in the Church of God, and they are usually early morning services called
“traditional,” including elements such as: The Lord’s Prayer, Doxology, Communion, and the music
included are older hymns. Such Churches are The Catholic, Anglican, and the Lutheran.

Traditional Worship:
These services provide spirited singing and exuberant worship. Congregational singing plays an
important role in traditional worship for most Churches, and many continue to use denominational
hymnals and convention songs from the 1930s-60s. Cherry quoted Oxendine saying:

By way of choir and congregational singing, special singing tends to lean toward the “Southern”
tradition, while basic instrumentation such as drums, brass, and guitars are used. The exact
instrumentation and special music rely upon the degree of talent available. 15

One musical characteristic of traditional Church music is the style of piano accompaniment. In the
traditional Church style in addition to the quarter and half notes, there are also eighth notes and eighth
note triplets in the treble clef. In the bass clef, the left hand of the piano accompaniment plays the bass
tone of the chord on beat one, and then on the second and third beat, the left hand plays a chord. This
type of piano accompaniment would be difficult for a trained choir if they were listening for their
specific note, they are accustomed to this lively version of accompaniment. When other instruments
such as guitar, trumpet, or saxophone are added to accompany hymn singing, they also embellish their
playing, and the music becomes very rhythmic and polyphonic (i.e ., similar to a traditional jazz band).

Contemporary Worship: Music always seems to awaken strong emotions among churches. Some were
raised on psalms, some on hymns, and others on the gospel songs of their day (i.e. spiritual songs).
Contemporary Christian Music has among its heritage the Jesus Music from the 1960s,

According to Edwards,

Praise prepares the congregation to worship God, thanking Him for His blessings, and it can be loud and
demonstrative, with outward signs popular among Churches of God, such as clapping, dancing, loud
instrumental music, with an exciting Spirit-filled exuberance. Songs of praise as mentioned by Edwards
could be considered corporate worship, or horizontal worship, meaning that it is visible to other
participants in the congregation. According to Edwards, all of this leads to worship, which would
basically be the opposite of praise; quiet, slower, contemplative, and vertical; that is, a relationship
between the individual and God.

According to Rainer

The church must make sure the lyrics that accompany the rock-driven beat are theologically sound,
which some have erroneously called Charismatic music. Technically, there is no such thing as
“Charismatic music,” which would employ the charismatic gifts; however, tongues, interpretation, and
prophecy are used in Praise-and-Worship music, but they are also used with the traditional style
previously mentioned. 16

Webber also said

“Charismatic music,” he contends that Pentecostals and Charismatics have an openness to the moving
of the Holy Spirit, which would include the charismatic gifts. 17

According to COGE

The purpose of Contemporary Worship is to adapt to the changes that are happening in society and
make it applicable to the church. By choosing a similar music style for the congregation, they are not
forced to choose between their secular music and church music; both basically the same, with the
exception of the Christian text. The worship choruses used for Contemporary Worship are not

Complicated and can be easily sung and memorized. 18

Hawn claims these choruses are like sung prayers,

“In many ways the refrain form of the nineteenth-century Gospel song and its successors, the Scripture
song or chorus, provide a clearer sense of sung prayer because they are easily memorized, make use of
repetition, and use fewer words.”

Scripture songs led to Praise-and-Worship songs, and a new genre was born. Each of the elements has
influenced and helped to shape Pentecostal and Church of God music. The combination of traditional
and contemporary worship music led to a new category known as blended worship.

Blended Worship: When a worship leader uses psalms, hymns, gospel songs, and spiritual songs (i.e .,
Praise-and-Worship) together in one service, they are actually using “blended worship.”

According to Scheer, the young people who attend church today are not so concerned with one
particular style; they seem to enjoy the blending of old and new, pop and rock, and folk and high church
liturgical music.
It seems they are more interested in authentic worship, however it is packaged.

Blended worship does not happen accidentally- it must be planned and designed.

Acker mentions that “blended worship should incorporate music from our past and new contemporary
choruses. The songs should be in a comfortable range for most voices and meet our desire to articulate
our beliefs”. 19

Years ago Pentecostals “sounded” like Pentecostals, but that is no longer the case; Webber believes this
is because every tradition is borrowing music from one another. 20

In this respect, the Praise-and-Worship genre has spurred a transformation that has made it easier for
once denomination faithful members to begin visiting other congregations where the music is similar.
Blended Worship has become extremely popular, especially in urban areas, where mass choirs are often
seen on television, such as the Brooklyn Tabernacle Choir, Christ Church Choir, and the Saints in Praise
Choir, blending older hymns with more popular worship choruses. 21

Emerging Worship is an attempt by some in the late twentieth century and early twenty-first century to
break out of the traditional mold. One reason is that many post-moderns are completely unfamiliar with
church or religion at

All.

According to Kimball,

America today can no longer be called a Christian nation, because generations of young people born and
raised in America do not know anything about God, the Bible, or Jesus. These post-moderns are seeking
new and engaging ways to worship God. 22

2.4.2 Musical instruments and spiritual worship

Instruments have a great impact on worship. Instrument enhances worship. It is difficult to find churches
that exclude musical instruments from their worship. In more traditional churches, it will be a single
organ or piano; in more ornate churches, other classical instruments might be added; in modern
churches it could be drums, guitars.

Instruments were used to express patriotic joy at times of national deliverance.

This was the case of Miriam, Jephthah’s daughter and when David slew Goliath.

Women celebrated with dancing and percussion instruments called timbres. Likewise, when “David took
a harp, and played with his hand; so Saul was refreshed, and was well, and the evil spirit departed from
him” (1 Sam. 16:23).

Brownlee said

“it is important for appropriate music to be playing when people enter the sanctuary – it sets the mood
for the service, and creates a worship atmosphere”. The rhythm section: piano, bass guitar, acoustic
guitar, and drums comprise the basic instrumental worship team. Auxiliary instruments could include a
synthesizer/keyboard, electric guitar, percussion, and solo

Instruments (i.e ., flute, sax, trumpet, violin.). 23

2.4.3 Effect of instrumentalist on spiritual worship

Instrumentalists are also known as musicians. A Worship Leader who leads with an instrument has the
ability to be a bridge between the vocalists and the instrumentalists, and Sorge said “that when each
team member recognizes their value to the success of the team, worship will occur”.

Instrumentalists must be able to read music or at least follow chord charts and be proficient on their
instrument. Those musicians, who would offer praises on their instruments, must seek to excel in doing
so. They must apply themselves play skillfully on their instruments (Ps. 33:3). This does not imply the
skill of precision. It is not offering of skillful human ability. It is a spiritual skill, rather than natural talent.
The skill is not only in playing of the instrument, but in interpreting the mood of the spirit.
Instrumentalist produces the atmosphere conducive to exercise spiritual gifts.
Effect of contemporary gospel music on spiritual worship

There are many scriptural ways in which people express their praise to God.

Gerald say praising God with the voices (Ps. 26:7) “That I may publish with the voice of thanksgiving, and
tell of all thy wondrous works”. “ … I went with them to the house of God, with the voice of my praise …
“ (Ps. 42:4).

Cultivating the habit of talking about the Lord and His wonderful works. Telling Him how great and
wonderful He is, how loving He is through vocal expression of praise and worship. He added physical
expressions of praise and worship in addition to verbal and audible expressions of praise. Which are
common to the present music in the church. Shouting unto God “shouting to God with the voice of
triumph” (Ps 47:1). God demand shouting showing voice of victory.

Standing is a sign of respect. If a person of importance enters a room, those present will rise to their feet
to honor and show respect to that person. Frequently the Holy Spirit will inspire people to stand before
the Lord as an act of worship and reverence. “Let all the earth fear the Lord: let all the inhabitants of the
world stand in awe of him” (Ps 33:8).

Singing is one of the simplest and most natural reactions to the wonder of God. It has always been a
valid expression of praise among God’s people. “ … come before his presence with singing” (Ps 100:2).
God delights to hear us singing His praises. Raising of hands are universal sign of surrender, raising of
hand before the Lord show complete surrender to Him. Clapping of hands is an expression to show God
winning admiration and approval during worship through music. “O clap your hands, all ye people … “
(Ps. 47:1). It is a sign of gladness, rejoicing and approval. Bowing low and kneeling is an overwhelming
presence and the glory of God. It also a gesture of reverence and respect. Falling prostrate before God is
another extreme form of obedience and worship. To fall before and lie in front of someone is a sign of
deepest reverence. Dancing involves the use of the whole body in order to express joy, praise and
worship before the Lord. "Let them praise his name in the dance … “ (Ps. 149:3)

In the mode of worship of many Pentecostal and orthodox today dancing to music has become a major
practice with the youth of the century in which music in many churches has taking a new shape because
of what is in vogue.

2.5 What is church growth?

Rick Warren’s say “A great commitment to the great commandment and great commission will grow a
great church”.

Thegrowth of a church comes numerically, spiritually and geographically. Evangelism creates more
growth for the church. Growth is very essential and important every church.

2.5.1 Effect of music on church growth

Edification, it appeals to people which stir up a sober feeling especially when listening to slow or mind
tempo music. This makes someone happy in the church.

Worship and Praise is a form of music attributed the expression of the mind in spiritual worship and
dancing, it brings the church to be spiritual mindful, edify the preacher and also entertain (in the case of
spirit filled praises).

Proceedings and events like carols, crusades there are routines laid down since the inception of the
church especially liturgy.

Training and education, like other institution the church, being a religious organization aim to teach,
nurture and grow talents because music is one of the core elements of the church.

Spiritual and evangelical purpose, this is the most important purpose of the gospel music. Church
musicians and singers use music as a tool to evangelize programs such as crusades, gospel concert make
use of music.24

2.5.2 Factors of church growth

Rick Warren’s say “A great commitment to the great commandment and great commission will grow a
great church”. He added that these five missions are the same principles of church growth
Fellowship”baptize them in the name of the father, the son and the Holy spirit” (Matt 28:19), Evangelism
“Go and make disciples” (Matt 28:19), Worship “Love theLord your God” (Matt 22:37), Ministry “Love
your neighbor like yourself” (Matt 22:39) and Discipleship “Teach them to observe all that I commanded
you” (Matt28:20)25

2.6 Effect of musical instruments on spiritual worship

Musical instrument add value to spiritual worship, flavor that enhance the rhythm of songs sang during
spiritual worship. It beautifies songs, when a skillful musician plays the piano the accompaniment that
comes out from the production beatifies the choirs singing. Edification comes from the personal
enjoyment of the individual listeners during spiritual worship. However, musical instruments can be
misused during worship if the loudness of the instruments used overshadows the singing of hymn and
other spiritual songs during spiritual worship. Musical instrument serve can serve as a medium of
connectivity between the worshipper and God.

Effect and influence of musicians on gospel music

Musician’s skillfulness and professionalism are known while musical instrument is used during worship
e.g. guitarist playing the guitar, drummer playing of the drum set, pianist playing of the piano, talking
drummer playing the talking drum. It can be used positively to enhance worship or harm the worship
negatively. Musicians personal commitment reflects with the interest known for on the musical
strument and enthusiasm exhibited while playing. Mostly, musicians’ ethical

Miningreflectsinthededicationto the things of the gospel and how they love God. The moral behavior of
musicians is observed from the act of individual discipline and upbringing, some are well thought, some
are not well thought and some are influence either positively or negatively the peer pressure. Most
gospel musicians carries a tool for evangelistic outbreak unknowingly to them their relationship with
God are jeopardized by the devil. Some are interested in the money to be paid for because of their
skillfulness and neglecting God the owner of the work. Some, who have intention of working for God
and building relationship with God, have been chased away by the attitude of many choir masters,
mistress, Pastors and church council leaders whereby they short paid or deduction of salary.

2.6.1 Effect of musicians on contemporary gospel music

David had been anointed by God. He was skillful musician, a gifted composer and a sweet singer. When
he played and sang under the anointing of the spirit, the evil spirit departed from Saul (1 Sam 16:23).
When Jehoshaphat needed a prophet in time of national crisis, he called for Elisha. The prophet called
for a musician (2 kings 3:11, 15, 16). The music helped create an atmosphere and mood for the
prophetic gift to operate.
Mixing of sacred and secular music together need to be avoided it making message of salvation loose its
value by musicians.

Musicians enhance music with skillful playing with excitement and enjoy what
playedwhilesomewillbetooexcitedandover shadow the singing of the choir with their own production of
sound.

Professionalism andskillfulness in playing enhance pride for most musicians whereby they minister to
entertain rather than minister to life and it leads to pride.

Most musicians play for livelihood and the stability of constant fellowship in most churches, when
having a better offer.

Indiscipline and refusal to be corrected, this reflected in their playing most musicians are not discipline
some chew gum while playing. Which made people concluded all instrumentalists are not discipline.

2.6.2 Effect of contemporary gospel music on the growth of the church

(Positive or negative)

Music is made flexible and simple in today’s music members are connected to God in praises and
worship, hymn singing and anthem in simple way. Clapping of hands, raising of hands, dancing and
singing various songs makes the heart joyful and entertain the body with good godly music.
Contemporary gospelmusichas developed evangelism to the next level in gospel music outreaches,
concerts and street evangelism. Untrained gospel musicians are misusing the lyrics combining gospel
lyrics with secular rhythm and devaluing the gospel message of salvation. The simplicity of church music
today is giving a setback on traditional music whereby singing of hymns and anthems are being reduced
and are of no interest to the contemporary church, whereby becoming of old music to the church of
today.

CHAPTER THREE

BIBLICAL BASIS FOR THE EFFECT OF MUSIC ON SPIRITUAL

The concept of music and worship is in the Bible. It can be seen in some places in the OldTestament as
well as in the New Testament. Throughout the scripture most of the acts of worship was through music.

3.1 In the Old Testament the services of the choir and musicians are required for the act of worship.

3.1.1 In Pentateuch

There are several biblical examples throughout the Pentateuch that disclose a culture of music in the
context of worship. Evidence indicates that large groups often gather together to memorize song lyric
for the purpose of singing during the days of Moses. Many of these song lyrics are written by Moses and
serve as a tool for remembering the wondrous miracle work God performs in the midst of the

Israelite nation. In Exo. 15:1

Worship by Moses through Song

Moses composed and wrote song throughout the forty years of leading the children of Israel through
the wilderness. Most of the lyric expressed praise to God for His mighty acts.

In Deuteronomy 32, Moses writes his final song, “The Anthem of the People of

God,” also known as “The Song of Moses.” Moses comes with Joshua to all the families of Israel and
sings this song in “the hearing of the people.” This is another record of worship through music. Beyond
the worship, the song recounts part of Israel’s history and walk with God.

Worship in the Tabernacle

Tabernacle worship begins at Mount Sinai when God reveals “The Ten Commandments” and “the Law”
to Moses. The use of specific instruments in worship, as follows:
Exodus 28:33-35 provides instructions for the sewing of bells into the hem of priestly robes.

Leviticus 25:9 gives guidelines for the blowing of a shofar on the Day of Atonement.

Numbers 10:7-8 identify the blowing of trumpets as a sacred duty and for the purpose of gathering the
assembly together.

And when the assembly is to be gathered together, you shall blow, but not sound the advance. 8 The
sons of Aaron, the priests, shall blow the trumpets; and these shall be to you as an ordinance forever
throughout your generations.

(Numbers 10:7-8 NKJV).

Numbers 10:1-10; 29:1 and 31:6 articulate the blowing of trumpets to gather people for appointed
feasts, over the burnt offerings and peace offerings to the Lord, signal breaking of camp, sound alarm for
battle, and to mark the beginning of a new month.

Numbers 31:6 set aside trumpets as “holy”. Moses speaks of the creation of music

Genesis 4:21, referring to Jubal as “the father of all those who play the harp and flute.”

Genesis 31:27 implies singing and playing of instruments common to Hebrew sociallife.

Reference to song in worship in Exodus 32 are not to Yahweh but, to a golden calf with loud celebration,
singing and dancing:

The last recorded song in the Pentateuch is the Song of Moses in Deuteronomy 32:1. Music in worship
had a strategic role within the Jewish culture from before and during the days of Abraham, Isaac, Jacob,
and Joseph; during the years before and after their Wilderness with Moses and Joshua; during the time
of “The Judges;” as part of the first monarch, King Saul; and with the rule of King David.
The Hebrew nation, as a people group, “celebrated in the vineyards (Judg. 21:1921), after sheep were
shorn (2 Sam. 13:28), at weddings (Judg. 14:14), at coronations (1 Kings 1:39-40), and on pilgrimages (2
Sam. 6:5).”65 Music was also used to rally military troops (Josh. 6:3-16; Judg. 3:27), celebrate military
victories (1 Sam. 18:7), and to mourn or lament the death of loved ones (2 Sam. 1:17-27).

3.1.2 In History

King Solomon and His Presentation of Worship.

At the dedication of the temple in the fourth year of his reign, Solomon begins building the Temple,
which takes seven years to finish (1 Kings 6:38). Once the Temple is complete, the priests travel to Zion,
the City of David, and move the ark into the inner sanctuary of the new Temple. 2 Chronicles 5 gives
record of the event.

Kings – Judean Kings and Post-Exilic Worship.

Attention is given to choral practices during the reign of the Judean Kings; use of choir during the post-
captivity period in Jerusalem; worship at the dedication of the second Temple; and, celebration of
rebuilding the wall around the Holy City, Jerusalem.

The Levitical Choir during the Reign of King Jehoshaphat. In one of the most iconic stories of song and
worship in Scripture, King Jehoshaphat commands the Levitical choir to lead the Judean army into battle.

When Jehoshaphat and the people of Judah hear this prophecy, they bow their heads to the ground and
worship the Lord while the children of the Kohathites and the Korahites stand up and praise the Lord
“with voices loud and high” (2 Chronicles 20:19).

Music became a weapon of war as God directed His people, King Jehoshaphat and his army employed
music in battle against their dreaded enemy and they not only won the battle but had so much spoil to
carry home. This is one of the powerful evidence of the effect of music; not only in worship but also in
enjoy divine victory.

The Book of Ezra and the Worshiping Community

In 838 BC, 103 Zerubbabel leaves Babylon with 42,360 exiles to return to
Jerusalem (Eara 2:64), Among those exiles are 148 singers, all descendants of Asaph (Nehemiah 7:44),
and 245male and female singers (Nehemiah 7:67). This is a very small percentage of Judeans as most
decide to remain in Babylon. However, throughout the course of time, many Jews begin making their
way back to their homeland. This is another Biblical record of events where music provoked the worship
of God. Both Ezra and Nehemiah at different times had the exiles to return home. It was also a time
when the Levites reestablished worship of God. These burnt offerings are placed upon a new
restructured altar (Ezra 3:2-5) at the same location where Solomon’s Temple resided. After the altar is
rebuilt, Jeshua and his priestly brethren, Zerubbabel with his brethren, the Levites, and all those who
returned from captivity come together to lay the foundation of the new Temple. Once the foundation is
laid, the people celebrate in worship: When the builders laid the foundation of the Temple of the Lord,
the priests stood in their apparel with trumpets, and the Levites, the sons of Asaph, with cymbals, to
praise the Lord, according to the ordinance of David, king of Israel. And they sang responsively, praising
and giving thanks to the Lord: “For He is good, for His mercy endures forever toward Israel.” (Ezra 3:10-
11a NKJV).

These reestablished Levitical choirs from the sons of Asaph sing together,

“responsively,” for the first time in seventy years.

Other than the elders weeping, the description of this dedication service is very similar to the worship
service described at the dedication of Solomon’s Temple (2 Chronicles 5). Ezra 3:

“The trumpeters sounded a signal, here presumably for the service to start, while

The Levitical musicians evidently clashed their cymbals to announce the start of the hymn quoted in
verse 11.”104

This dedication service remains aligned with the burnt offerings and sacrifices as outlined in the Mosaic
Law.

Nehemiah and the Worshiping Choir.

In 445 BC, thirteen years after Ezra migrates in Jerusalem. Nehemiah, with the Persian King Artaxerxes’
blessing, arrives to rebuild the city’s wall. After fifty-two days, the wall is complete (Neh. 6:15). And,
Nehemiah invites the Levitical choir, priests, and musicians to participate in a stunning dedication
service108 with the choir singing and offering worship from the top of the wall to the Temple:

(Nehemiah 12:27 – 42 NKJV).

The two choirs sing while marching up the steps onto the city walls in opposite directions but towards
the Temple. The first Thanksgiving Choir (on the right side of the wall) is led by Zechariah (v.35b). The
second Thanksgiving Choir (on the left side of the wall).

All the account shows the use of music as a means of worshiping God in the passages of the Old
Testament.

3.1.3 In the Psalms

Thy status have been my songs in the house of my pilgrimage (Ps. 119:54). The entire book of Psalm was
a singing book full of stanzas. Music is very important almost at the beginning of every chapters in the
book of psalm there was written (For the director of music. A Psalm of David). Many Psalms were set to
music for temple worship. Also the book is known as “book of praise”. (Ps. 33, 103, 139) shows how to
praise God.

3.2 Music And Worship In The New Testament

The Scriptures tell us what God desires in worship musically.

3.2.1 In The Gospels; And after singing a hymn, they went out to the Mount of Olives. (Matt. 26:30; Mark
14:26) Jesus and his disciples sang hymns music in worship. In the gospel Jesus sang hymn with the
disciples, shows the relevance of hymns during the period of Jesus with the disciples.

3.2.2 In Act Of The Apostles; But about midnight Paul and Silas were praying and singing hymns of praise
to God, and the prisoners were listening to them (Acts 16:25).

3.2.3 In The Epistles; And for the Gentiles to glorify God for His mercy; as it is written, “Therefore I will
give praise to thee among the gentiles, and I will sing to thy name.” (Rom. 15:9).
What is the outcome then? I shall pray with the spirit and I shall pray with the mind also; I shall sing with
the spirit and I shall sing with the mind also. (1 Cor.

14:15)

“And do not get drunk with wine, for that is dissipation, but be filled with the Spirit, speaking to one
another in psalms and hymns and spiritual songs, singing and making melody with your heart to the
Lord” (Eph. 5:18,19).

“Let the word of Christ richly dwell within you, with all wisdom teaching and admonishing one another
with psalms and hymns and spiritual songs, singing with thankfulness in your hearts to God”. (Col. 3:16)

“I will proclaim Thy name to my brethren, in the midst of the congregation I will sing Thy praise.” (Heb.
2:12)

“Through Him then, let us continually offer up a sacrifice of praise to God, that is, the fruit of lips that
give thanks to His name”. (Heb. 13:15)

“Is anyone among you suffering? Let him pray. Is anyone cheerful? Let him sing praises”. (James 5:13)

In each and every instance, the music described emphasizes verbal communication: singing, speaking,
teaching, making melody in your hearts, confessing, giving thanks, and the fruit of lips. The absence of a
reference to instrumental music is startling. God desires music that is both of the mind and the spirit,
not something irrational or non-verbal.

3.2.4 In The Book Of Revelation; Rev. 18:22 “And the voice of harpers, and musicians, and pipers, and
trumpeters … “ (NKJV).

Rev. 8:2 And I saw the seven angels which stood before God; and to them were given seven trumpets.

The use of music and players were also reflected in the book of revelation indicating the relevance of
music.
4.3 EFFECT OF CONTEMPORARY MUSIC ON SPIRITUAL WORSHIP OF CHRIST APOSTOLIC CHURCH OKE
IBUKUN YOUTH CHURCH OLOBO, OSOSAMI.

The youth church of Christ Apostolic Church Oke Ibukun Olobo Ososami Ibadan is well known for her
musical competency in the Christ Apostolic Church youth worldwide.

Contemporary music is adding value to the church with her mode of operation.

Children within the ages of 12- 19 play the musical instruments and are involved in the act of worship.
Children graduates from the juvenile to the youth church after which they go to campus.

Contemporary music and singing in the church brought a unique way of spiritual worship and not
omitting or limiting hymn singing.

Contemporary music of the church involves instrumental worship, accompaniment of hymns through
orchestra instruments like violin, viola, cello, flute, trumpet, cornet, trombone, French horn and others.
Most of the time instrumentalists have been corrected on the lousiness of the musical instrument.

4.4 CHALLENGES AND IMPLICATIONS OF CONTEMPORARY

GOSPEL MUSIC ON SPIRITUAL WORSHIP AND GROWTH OF CHRIST APOSTOLIC CHURCH OKE IBUKUN
YOUTH CHURCH

Contemporary music of the church has added a numerical and spiritual growth to the church. The
church has been a model of singing spiritual music in orchestra instruments and contemporary songs.
The music of the church involves the participation of the youths on the musical instruments. The church
had produced teachers and leaders musically and spiritually, likewise outside of the church.

The church has five concert violins, nine beginner violins, four violas, two cellos, two trumpets, two
flute, one French horn, trombone, two saxophone orchestra instruments with different players.
One drum set and one electric piano Band instrument. In addition to the expansion of the church
musical instruments are been donated for the achievement made, The church is one of the national
orchestra team of Christ Apostolic Church nationwide, 60% of the youth church are musical.

Some of her yearly programmes are Annual Praise and Jazz concert, orchestra and choir anniversary and
carol.

The church is grooming other youths through the assistance of the Pastor in charge who is a
musicologist (studied music).

Contemporary musical instrument is one of the major tools used to attract the youth to the church.

The challenges in the church are about the bad parenting habit; characters inherited from parents,
impatience of the youth regarding discipline and commitment.

4.5 DATA ANALYSIS

The following data was used to ascertain the positive effect of contemporary music on spiritual worship
on Christ Apostolic Church Oke Ibukun Youth Church, Olobo Oke Ado, Ibadan. The method used for the
research is the use of questionnaires with random sample. The questionnaires were analyzed by simple
majority to arrive at a conclusion.

60 people were given the questionnaire, 50 were returned.

The responses gotten from the respondent are analyzed as follows;

100% of the respondents enjoyed music.

SEX DISTRIBUTION

The response cuts through both genders. 30 of the respondents were female with
60% while 20 were male with 40%