Worship Leader Magazine Vol 28 | No 3

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THE ROLE OF CRE ATIVIT Y & IMAG INATI ON IN WORS HIP

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Letter from the Editor

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Caroline Lusk

Back to Basics

Chuck Fromm with Andrea Hunter

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Dr. Tanya Riches

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Masterclass with Matt Redman

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Multi-Cultural Worship

Nikki Lerner

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Marcus Criner

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Missional Worship: Developing the Creative Habit

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aximizing Creative M Potential in Worship

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Cathedrals of Meaning

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Reclaiming Creativity

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Imagining the Impact of the Creative Act

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Dr. Reggie Kidd

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Album Reviews Caroline Lusk

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a letter from the Hello Friends, Over the years, I have committed to several different Bible reading plans—some with more success than others. Inevitably, I tend to gravitate towards those that include an Old and New Testament passage, neatly tied up with a Psalm and possibly a Proverb thrown in for good measure. Reading Scripture and meditating on the Word of God is always fruitful and edifying. I’ve found that reading a variety of scriptural passages is not only good for my soul and my personal relationship with Christ; I find it to be immensely satisfying to my creative sensibility.

The Bible is written in an array of literary styles and genres. Theologians and scholars will differ in identifying the specific styles, but most would agree that there is Historical Narrative, Law, Poetry, Song, and Epistles. This isn't an exhaustive list but one we can use as we explore the role of creativity in worship and the Church.

It is most certainly not happenstance that the inspired Word of God is presented with such diversity of form and style. It's the greatest story ever told, and although breathed into existence by the Creator of the universe accesses and utilizes the unique voice and experience of particular humans. It's artistic, insightful, inspiring, informative, convicting, and uplifting. Be it a Psalm sung by David, a poem penned by Solomon, or a letter authored by Paul, great care has gone into the crafting of Scripture.

When it comes to our Creative God, that’s just the beginning. Look in a mirror. Have you ever seen anything else exactly like you in the world? Of course not! You and I were knit together by the ultimate Creator who never runs out of inspiration or ideas. He also never makes mistakes. We are His masterpiece.

Not only are the workings of His hands epically creative; His ways equally defy convention. Who else would think to send a baby to become a carpenter, a teacher, and save the world? That’s somewhat out of the box, no?

As we consider the role of creativity in our personal and corporate worship today, perhaps we would benefit from an in-depth review of the role of artistry—visual, musical, spiritual, lyrical—God has modeled and instilled within the hearts of His people from the beginning of time. And if we so choose to seriously engage with the variety of creativity in Scripture in our churches and lives, we must do so with open minds.

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For elements rooted in beauty and brimming with possibility, artistry and creativity can easily become matters of contention or objects of fear. Creative ideas and people generally don’t color within the lines. That can come across as reckless and even dangerous for those of us raised with strict parameters of how God and the Church should look, sound, and feel. Sadly, it often seems as if artistic communities and religious communities couldn’t be more different or incompatible.

As worship leaders, it is your duty and privilege to help bridge that divide. It is your opportunity to reveal more of who Jesus is and remind people that God does not only exist within the parameters of our limited perceptions. He is the God who inspired accountants, tax collectors, and fishermen; the God who used lawmakers and lawbreakers; the God who wrapped His only Holy Son in flesh so that we, too, could call Him Father.

I pray that the articles and features within this issue will energize and inspire you. I hope that new ideas will challenge you and help you find freedom in allowing yourself to imagine worship without walls or precepts or limitations.

Just as Scripture is presented in a variety of styles that appeal to a variety of people, our worship can similarly thrive when we allow creativity to trump convention, and commit to representing our multifaceted, beautifully artistic, endlessly creative God with authenticity, with passion, and with hearts, minds, and arms wide open.

Sincerely,

Caroline Caroline Lusk is the editor of Worship Leader magazine, a storyteller for Baptist Global Response, and a freelance writer and author. Formerly the editor of CCM Magazine, she has hundreds

C A R O L I N E LU S K , EDITOR

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of published articles to her credit and has ghost-written numerous books. With a Masters degree in Human, Organizational and Community Development from Vanderbilt University, Caroline lives outside of Nashville, TN with her husband and their two children.

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REMEMBERING The first meeting I had with visionary and true father in the faith, Robert Webber, he said, “Chuck, the most important word in worship is remembering. People who don’t remember God can’t worship.” He was talking about “biblical remembering.”

As Fleming Rutledge says in her spirit-shaking tome on the cross, “if we say that the Lord’s Supper is a ‘memorial,’ we do not mean that we are simply thinking about Jesus’ last supper.

When we repeat Jesus words, ‘do this in remembrance of me,’ in the communion service, we do not simply call Jesus to mind.

Jesus is actively present with power in the communion of the people…We are not just thinking about Jesus’ actions in the upper room; we acknowledge that he is present and acting with the community gathered at the table in the present time” (The Crucifixion: Understanding the Death of Jesus Christ p. 218).

GARDENING WITH GOD Sitting in my green garden in Franklin, Tennessee—I used to look at the brown hills of San Juan Capistrano; now, I am surrounded by vibrant colors and flowers my wife Stephanie has planted—I was remembering. It brought to mind all the flowers God has allowed us to plant along this continuing worship journey, or more accurately, the ways He’s allowed us to participate in what He is doing. What He is planting.

In my days at Maranatha Music!, Karen Lafferty had written a song that was to become the fiery global mission worship song for a new era. After her already existent faith was ignited by a visit from a Christian friend, Karen quit her job singing in a New Orleans nightclub and went to California. Her new life of ministry satisfied her hunger for God but left her worried about having enough money for her car payment. She had prayed for wisdom and ended up at a Calvary Chapel Bible Study where the focus was Matthew 6:33 from "The Sermon on the Mount." In remembering, making present Jesus' words in the first century, she found the courage to continue. She also remediated the words that had come alive for her into a song, that would invite others into her experience of a Jesus who is present and aware of our every challenge.

Seek ye first the kingdom of God And His Righteousness And all these things will be added unto you Allelu, Allelulia…(excerpt C 1971)

GROWING EMBODIED COMMUNICATION Jesus planted the song 2000 years ago in Israel, and it sprang up in Karen’s heart in the early days of the Jesus movement. And the wind of the Spirit blew it around the world. When I first heard it, I played it over and over again, all night. It was a simple song. And it was straight from Karen’s heart. It was authentic, incarnational, and carried the authority of the living Word. True

remembering always brings us into God’s present-tense presence and being.

The number one requirement of a worship leader/writer is not the creation or performance of music, but the incarnation of the Word: Jesus, the ultimate worship leader (Heb 8).

The number one requirement of a worship leader/writer is not the creation or performance of music, but the incarnation of the Word: Jesus, the ultimate worship leader.

As you perform through words and music, what pours out of you comes from your relationship as a daughter/son of God. And it’s this communication that connects more thoroughly than the latest song and plants seeds of understanding and transformation.

It’s beyond an idea; it’s embodiment. And whether you lead at a house church, a small church, a denominational church, a mega-church, a pastor-led church, you as a worship leader have the same access to a present-tense God. You have the same call to remember and incarnate God in worship—to plant seeds in God’s garden. No one has an edge because of equipment and numbers and technology here.

THE INTEGRITY OF PRAISE IS PERENNIAL I talked to Karen not long ago, and she is still “in ministry” reflecting the “integrity of praise” in her songs and life some 50 years later. She says she occasionally sings in a bar, but for totally different reasons, to extend the Gospel to those who likely won’t darken a church’s door. She founded Musicians for Missions with Youth With A Mission (YWAM) in the ‘80s in Europe, and in 1995, became the founder and director of their Santa Fe base, where she continues to seek first the Kingdom of God in her work, discipling, and mentoring musicians for the King.

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2019 SELECTIONS DOWNLOAD ALL SONG RESOURCES FOR FREE!

Hallelujah! Christ is coming, Our Messiah, in majesty. All the pow’r of hell is forever broken. Hallelujah! Christ our King!

He Wears a Crown Bryan McCleery My Prayer Frankie and Jen Krasinski Stay Close Awaken Worship Collective

HALLELUJAH! CHRIST IS COMING THE NEW COLLECTIVE

Set Free Valley Worship Psalm 132 (A Church Established) Cardiphonia Music Light After Darkness Advent Birmingham

"Hallelujah, Christ our King" takes our hand and skillfully walks us through the Paschal Mystery. We begin at the cross of salvation, visit an empty tomb, and end with Christ exalted in Heaven. The Passion story is definitely not for the faint of heart, but it also rings out victory and redemption. This song mirrors the spectrum of emotions covered: the dread that must have been felt when

darkness filled the Earth, the gravity of grief, doubt around dreams that are dashed, hope for the triumph of Good, and, finally, the joy and peace of resolution.

"Hallelujah, Christ our King" has served the congregation it was written in as the centerpiece of their Easter services for the last couple of years, and will probably be adopted by my church soon.

Hallelujah, Christ Our King The New Collective Welcome Here The Journey Collective Behold Jess Ray, Taylor Leonhardt and Trey Mystery of Faith Greg LaFollette Remember and Proclaim Christopher Williams In the Fields of the Lord The Porter's Gate

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G R E G L A FO L L E T T E SONG DISCOVERY DIRECTOR OF CURATION

Greg is a musician and producer in Nashville,TN. He is the resident artist at a local church plant, Grace Story Church, and serves as their director of arts and liturgy.

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T H E C R E AT I V E

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TA N YA

R I C H E S

H A BI T

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WO R S H I P M I S S I O NA L

DE V E L OPI NG

SENIOR LECTURER, MASTERS PROGRAM COORDINATOR AT HILLSONG COLLEGE

Tanya co-leads the research pillar at The Centre for Disability Studies, an affiliate of the University of Sydney. She completed her PhD at Fuller Theological Seminary and has authored numerous articles and chapters in scholarly volumes.

T

o respond to the challenge of pastoring and leading the next generation in our churches globally, we need to be innovative. To reach the lost and lonely with the message of Jesus, we need to be creative. To create a brave new world we dream of living in, we need to be creative.

But every creative struggles at times.

They all need inspiration, encouragement, or direction at some point. To that end, Dr. Tanya Riches asked a member of Hillsong Church's creative team, Gabe Kelly, (one of the most naturally creative people on earth!) to help us think these challenges through. Gabe is the campus worship pastor for the Hillsong's Hills Campus in Sydney. His insights will help you to harness your creative force, even on the most uninspiring days.

Throughout Scripture, from Genesis to Revelation, we see that God has given His people the ability to create. He even inspired us with the tools (language, music, art, and story, to name just a few) to bring our creative force to bear on the earth. So much of what humankind has built comes from this God-given gift. It's a huge contributing factor to our sense of identity and purpose!

However, in my 14 years of experience in creative teams and leadership, I have found that every creative I know, at some point in their journey, gets stuck. The idea well runs dry. The joy dissipates.

The color dries up from what typically excites them. The instinct to create instead morphs into an ability to hide. The desire to share what's inside can shift acutely into a desperate urge to withdraw, to procrastinate, or to straight-up quit. What often comes quite easily becomes‌well, hard.

I've been fortunate enough to spend years working alongside songwriters, lyricists, copywriters, arrangers, composers, and storytellers of all shapes and sizes. Each of them has battled the feeling of either not having enough or even worse, not being enough.

In my years of travel to churches, and across continents and creative disciplines, I am yet to find anyone entirely immune to this problem. I'm sure you recognize the feelings described above and are familiar

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For optimal creative flow, every busy period of output needs to be followed by a period of recharge and renewal. For many of us these days, creative work looks like a sprint, then rest, then repeat.

Sow. Reap. Repeat. We know this is true for farming, high-level sportspeople, and our sleeping children upstairs. Yet we often try to apply our creativity as if we're immune to that very principle. Where we should be inhaling, we choose to hold our breath. And then wonder why we don't feel the creativity flowing through like we expect we should.

If you want to get unstuck, you must let your creativity breathe. If you don't, it will instead asphyxiate.

The good thing is, this doesn't need to be complicated. Here are some very practical (to the point of being chronically overlooked) takeaways that can hopefully help you as they have helped me the last few weeks:

Sprint toward smaller pockets of time.

Five minutes of output is better than no minutes of output at all. Set a goal for yourself to create and complete something in a shorter period of time than you'd usually allow. Even if it's not your best, the act of starting and finishing can jumpstart your creative willpower.

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our need for air—inhaling and exhaling, expanding and contracting. Your heart, your body, the seasons, the elements, all follow this pattern in and out. It is so simple we too often expect there is more to it. Everything ALIVE has this interplay of inhaling and exhaling built into it.

Our challenge becomes that we often don't even notice it. It's so normal to us, so mundane and seemingly rudimentary that it barely registers as worthy of our attention. But without it, life stops.

Your creative habit is precisely like your breathing habit. You need to inhale (take in creativity) and then exhale (unleash your creativity).

If you try to shortcut this pattern and continue to exhale without first inhaling— you’ll find yourself ultimately out of breath. Completely stuck. Unable to move forward.

We have to understand our creativity the same way we comprehend breathing, as a part of our design. For example, consider that you've likely been communicating all day using words, giving signals, using symbols, endowing purpose and tone, using your vocabulary. All that just as you ordered your morning coffee!

Can you see the creative potential wrapped inside each of those seemingly banal micro-actions? Each of these holds the capacity to be highly creative acts. But ask yourself if you are aware of every moment's creative power, or if you are waiting to sit at your studio where you expect the art to flow like manna from Heaven?

Such expectations often become a significant blockage when we are stuck.

Not that we aren't creating, but that we don't see the creativity we've already employed as valuable.

We live with this creative breath constantly at work both in and around us, but we wouldn't recognize it by the way we often approach our days. We can tend to ignore, and trivialize the everyday opportunities to be creative each day.

Your goal, especially as a creative person, should be to notice the incredible body of creative work you've already brought to bear on the earth TODAY. To do this, to operate at your best, you need to choose to inhale. Exhale. Inhale.

Exhale. Repeat.

Change your environment. A different method, playlist, or activity can fundamentally alter your state. It can trigger new connections, renew your attention, and spark new ideas faster than anything else.

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with them to some degree. And you likely also know just how crippling it can be to your creative expression.

Creatives everywhere battle the same feelings, yet we have a remarkable ability to feel like we're the only ones suffering.

It's not our best trait.

There are lots of names for it, lots of diagnoses for it, and tons of books written about it. And if you're anything like me, you need help from time to time. To boil it down, we often need a pathway to get ourselves creatively 'unstuck.'

The story goes that for years, Picasso suffered from a debilitating case of creative block, barely able to drag himself from his bed each day. He was only raised from his daily creative frustration block by plenty of encouragement from his loved ones and closest confidantes. He would then proceed to drag himself to his studio, whereupon he would paint for hours, collapse at days end, and then repeat the process of pained execution anew the next day. If one of the greatest artists of our age wrestled with this, then we can agree that none of us can harbor a complete and total immunity to it.

What can we learn from this?

Well, creativity cannot be a place you occasionally visit or something you unwrap when you feel inspiration call.

Creativity has to become a rhythm you can't escape. It is a pattern that wraps in and around your everyday. Fluency comes from refusing to let go regardless of what your emotions may say.

It has to become like breathing. This is the key to developing your creative identity—it has to become a decision that exists primarily in your subconscious.

Creativity is at its best when it is an involuntary reaction to your environment and the world around you. Your creativity has to become automatic and habitual; like breathing.

As you look around our natural world, you can see everything that lives exudes this same principle. It's inescapable, yet barely noticed. Anything that gives life is caught up in this rhythm, this pattern.

Everything living breathes.

The issue with breathing, like creativity, is this. It's simple. Almost too simple. It's an automated response to

Develop your self-awareness. Sharpen your creative saw at a weekly, monthly, and annual level. Review what you've done, loved, and loathed. Sometimes looking at what's BEEN can help crystallize what's coming NEXT in you.

Give yourself to these steps, and I am confident you'll be back on the road to creating some of your best work.

Remember, if your creativity isn't allowed to breathe, it will eventually asphyxiate, and that is not where you were ever designed to end up.

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M A S T E R C L A S S //

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You’ve got questions.

He’s got answers.

WATC H

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he most effective leaders are those who commit to life-long learning. They seize opportunities to gather new experiences, and they ask good questions. More specifically, they ask the right people good questions.

The heart of Worship Leader is to help you become the most effective leader you can be by providing resources from and access to the right people— seasoned leaders who have traversed roads you may be on at this very moment.

You’d be hard-pressed to find a more seasoned, informed, and experienced leader than Matt Redman.

With 16 albums and eight books to his credit, not to mention iconic songs like "10,000 Reasons" and "The Heart of Worship," Matt has helped craft the era of modern worship music and ministry.

Accolades aside, Matt possesses a wealth of knowledge and insight, which is why Worship Leader is thrilled to partner with him by launching an interactive Q&A column to be featured inside the magazine and on WorshipLeader.com. Readers are encouraged to send their questions on anything about worship. From musical to technical to spiritual topics, Matt is ready and waiting to offer you his expertise and perspective.

Stay tuned to worshipleader.com for more information and details of question submission. In the meantime, check out the video below from Matt to you. You’ve got good questions. He’s got answers!

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How do you balance writing a song that's simple enough to be "catchy" but complex enough to be interesting?

He’s one of the most well-known and respected songwriters and worship leaders in the world. And now, Matt Redman is sharing his hard-won wisdom with you!

Read below as Matt helps tackle the intricacies of compelling songwriting and shares insight on maximizing your effectiveness as a leader within smaller contexts.

Great question. I've been doing this long enough to know that there's no formula! Some songs (or a section of a song) to the cerebral songwriter brain might feel 'over-simple'—but somehow connect so well, and people don't want to stop singing them. Others are less simple, but somehow get boring more quickly. It's quite the conundrum, ha! I kind of like the fact that there's no simple formula, as it keeps us dependent - it keeps us seeking and searching for a new inspired way to help people talk to God in our songs. And perhaps that's the key word—'inspired.'

There's a certain kind of song which seems so inspired, so 'God-breathed,' that it feels right at home in your heart, and doesn't grow tiresome to sing—even though simple.

An example would be the choruses of songs like 'How Great is our God' and 'Great are You Lord.' They are two of my favorite songs from the last couple of decades—and written by friends of mine— but if I'm honest, the cerebral part of my songwriter's brain doesn't understand how they're quite so special to lead in worship.

And yet they are. There isn't really an explanation—they just are. They are inspired.

It's almost as if in some beautiful way, the sum is greater than the parts. One last thing I would say here—simple doesn't have to mean shallow. There's a way to sing depth without being overly wordy. And also think about the flow of lyrical depth in a song— for example packing the verses with lots of poetic truth, and then making the chorus a simple, easily-grabbable response to the truth we sang in the verses.

Hi Matt. Seeking your advice about leading worship in a smaller context. When leading worship with a group of 50-100, how would you encourage a greater sense of passion and engagement? It's an ongoing consideration for us, and something we often find challenging in a smaller setting. Thank you!

It seems to be that sometimes leading in a smaller group like that can be the most challenging place—but when it goes right, it can be the most profound and beautiful of all. There's something so fantastic about the intensity of that kind of group when everything is flowing well, and people fully engage—but that, of course, is the challenge.

I don't think there are any simple formulas for this, but of course, the most fundamental thing is the songs themselves.

When the songs are truth-filled, lifegiving, prayerful, and easy and enjoyable to sing, you're probably halfway there. There are other things you can also do to help. For example, I'd identify some wholehearted, expressive worshippers and ask them to sit in the front rows each week. It helps set a spiritual temperature, and lead all the others sitting behind them. But the advice I'd give above all is that you've got to keep helping people realize the wonder of the experience.

This isn't just a musical moment; nor is it just about what is seen and obvious. We are joining in the anthem of heaven— joining our few voices to the multitudes who voice their praise around the throne room of God, this very moment. We are caught up in the eternal activity of heaven, and before this is ever a musical happening, it's a spiritual one.

If week after week, you can exhort, teach, and pray along those lines, you'll hopefully start to see the realization of that set in with your congregation. I hope that helps a little!

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Multicultural Worship

M I SS I O NAL CU LTU R AL D IVE RS IT Y

by Nikki Lerner

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n my work as a culture coach for churches and faithbased organizations, I am often asked this question.

"Do you believe that the Church should reflect the community that it is surrounded by, and if so, does a church surrounded by a homogeneous population need to pursue diversity?"

Let's break that down. Should a church ONLY reflect the community that surrounds it? NO! Absolutely not! Our model of the saints worshipping in Revelation Chapter 7—a beautiful diversity of all of the different types of people that God has made. The goal in both established churches and prospective church plants is that they reflect the diversity God created. A church should represent the community around it, but it shouldn't stop there. Not now.

Not in the chaotic, tumultuous days in which we find ourselves. The opportunity to reach out is endless. Why stop at just our local communities?

On the one hand, a church should reflect the community that surrounds it. If your community of faith does not, that could be a sign that your strategy is not connecting with or impacting that community. We often see this in cities where well-meaning young, mostly majority-culture, church planters come to plant their new church. Despite launching their church in areas full of non-majority people, the church frequently does not reflect that diversity. That's not a judgment; it's a sign. Perhaps something is amiss. Maybe there is a blindspot. Maybe there are several.

Recently, it seems that when it comes to cultural diversity in our churches, our vision becomes very small.

We begin to believe and act like our reach is severely limited. It's an interesting phenomenon because it stands in stark contrast to a given church's mission or vision statement. Many such statements speak about planting churches, reaching the world for Christ, reflecting the oneness of Christ or the power of Christ! Doesn't that sound gigantic and amazing? Doesn't that sound like a church of which you would want to be a part?

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L E A R N

A R E

More often than not, however, such grand statements quickly erode. We can go from reaching the WORLD for Christ to, "I'm sorry I can't do cultural diversity because I need to reach my community that is only within a 5-mile radius of where we are located."

Once we adopt such a mindset, particularly as leaders, things stop adding up. We proclaim a big vision of reaching the world, but we don't own it. Our words aren't strong enough to prevent that vision from shrinking in impact and size when it comes to cultural diversity, racial reconciliation, and multicultural effectiveness in our churches. Why do we shrink back into the limits of homogeneous church communities? In the United States, surely there is more, isn't there? Certainly, we still have the vision as a church to reach the world, the nations for Christ, yes? Not just people who look like us, ethnically or culturally?

My question for Christ-followers is: why are we working hard to find ways to absolve ourselves from engaging in ministry that is multiculturally effective or culturally engaging? Why are we spending more time working to come up with reasons for our churches not to begin learning about this type of ministry? Why are we not engaging our collective creativity to realize and consider all of the opportunities that lay ahead for Christ-followers in an unbelieving-ever-divisive world? Let's be honest. Most of us would rather tackle generational diversity than ethnic and racial diversity. Our perception of the learning curve is so steep; we don't even want to begin the process, at the risk of quitting in the middle. Most of us are trying to get services done, hospital visits made, children's curriculum written, and the volunteer schedule filled so we can make church happen. To think about "adding" to the list is more overwelming and soul-crushing than we'd like to admit.

That's right, I said it. Soul-crushing. Most of us would rather not pursue this type of ministry because it's hard.

But remember this truth—we do hard things all the time.

U N I F I E R .

U N I T Y P E O P L E

O P E N LY.

H E

R E S I D E S O F

J E S U S

T H E I S

L I V E S I N

O U R

S P I R I T.

L E A D I N G

I N

U S .

V E RY L E A N U S

B E I N G I N

A N D

S O M E W H E R E .

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Fear keeps us from pursuing that which Jesus has asked of us. Fear of losing people who give a lot of money. Fear of closing your doors. Fear of being called political.

Fear of looking stupid as a leader because the learning curve is so high. Yes. I just said that because it's true. I'm keeping it real here brothers and sisters. This list is not even close to being exhaustive. What are we so afraid of? No. Really. After reading this article, think or journal about your fears. Be honest.

Don't judge them, but you must name them.

O P P O R T U N I T I E S L I M I TAT I O N S

A R E

A R E

E V E RY W H E R E .

O N LY

I N

YO U R

M I N D .

This is an exciting time when it comes to multicultural ministry effectiveness. Did you know that in 2019, there are no limitations to your church community, your senior leadership team, or your worship ministry becoming multicultural? There are no boundaries for your church or ministry or even your personal life to reflect the beautiful, ethnically diverse, Body that God has created. But, you must seek, ask, and knock.

Missional cultural diversity can be achieved in the cornfield, the city, or the cul-de-sac [topic for the next issue].

Let us resolve to spend more time each week thinking about and considering the vast array of opportunities that surround us in becoming multiculturally effective. Let us not bend and shrink back under the fear of the division we see in our country and our world. We have Christ the Unifier living, dwelling, abiding within us. Don't let anyone lie to you.

None of this work is easy. After 20 years of building a multicultural, faith-based community, however, I have found this to be some of the most important, rewarding work I've ever done. It could be the same for you.

D O E S

A

N E E D

TO

O F

H O M O G E N E O U S P U R S U E

Y E S ,

C O U R S E !

First, this is God's heart for His church—that we would be one, that we would be united as brothers and sisters. Jesus says in John 17 that unity and oneness is the way that an unbelieving world will know that He loves them. If Jesus prayed this in the garden to His Father, don't you think it's important enough for us to take up?

Being multiculturally effective as a church community and ministry is vital today. It is the most relevant thing that you can do in 2019. You don't even have to pray about this one. Do you know why? Because Jesus already said it. You don't need to ask Jesus in prayer if He wants His Bride, His Church, His Body to be unified. YES is always the answer. We don't lean into this work because we happen to have racial problems. We don't lean into this work because a diverse worship team looks more impressive on our website and Instagram feed. We lean into this work because Jesus has asked us to. It matters to Him. Therefore, it needs to matter to us.

Second, the question is not whether or not we should pursue diversity. It should be why would you not want to? Why would we NOT want to continue bringing people together across great divides, worshipping Jesus together? Why would we not desire to create safe houses of prayer and praise for the nations, becoming a church where the community runs for safety, integrity, and insight when racially-fuelled events happen? I mean, isn't that the kind of church you want to build? Isn't that the kind of reputation you'd like to have in your community? I would! That sounds like the heart of the Jesus that we both serve.

N I K K I L E R N E R VOCALIST

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C O M M U N I T Y

D I V E R S I T Y ?

Nikki Lerner is a cultural coach, teacher, and gifted vocalist with over 20 years as a practitioner of multicultural worship leadership in the local church. Along with three recording projects, Nikki is also the co-author of the book Worship Together: In Your Church As In Heaven.

Nikkilerner.com

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D E VOTI O NA L

preparation Playing beyond your

I

am a firm believer that the world should be looking to the church for creative and musical inspiration. Unfortunately, most of the time, it is the other way around. We must remember that as believers we have the most creative and most authentic being dwelling within us! The One who fashioned the earth by hand, the One who spoke light into existence, and the One who gave the sea its limits resides in us. If we would yield to His creativity and inspiration, oh the results! It could leave lasting impressions that would transcend time. Too often, we can cheapen our sound and our creative footprint for the convenience of listening to and emulating other artists. I am not saying that others can’t inspire us, but there is a pure sound that only comes from Heaven. This sound will unlock the miraculous and has an anointing that the world can never produce.

When it comes to writing music, the truth is, if you don’t make time to write, you won’t. Songwriting is not convenient and usually will never fit into your schedule. Some writing sessions are incredible, while others can be painful. Some sessions make you feel like you’re the best writer in the world, while others will make you want to throw your guitar across the room never to be picked up again. No matter how the session goes, it was not a waste. God will honor your time, and you always walk away knowing something you didn’t know before.

Apply the changes for the next time, but don’t stop. It’s time we go through all of our voice memos on our phones as they could be filled with melodies, lyrics, and songs that could impact the world. I encourage all of our team members to immediately record melodies or progressions that spontaneously come from a service or writing session. If you're not quick to record it and 22 W O R S H I P L E A D E R | W O R S H I P L E A D E R .C O M | VO L . 28, N O. 3

write it down, you’ll probably forget it. It can be as easy as just singing the progression into your phone to be heard again at a later time. There have been many times in our writing process that I have gone back to previous choruses and progressions that didn't quite seem to fit the project I was on, but I knew it was God-inspired and had major potential for something else.

I truly believe that when God gives us lyrics, melodies, and songs that He also is watching over how we steward them. Do we take them seriously enough to put forth the time it takes to revisit and dig until we find the gold? Being found faithful to where we are and with what we currently have is absolutely crucial concerning creativity.

I heard a preacher say one time, “Use what you have, and God will give you more.” Why would God give us more if we are not using what we already have? So many times we can treat with contempt our current resources, current location, and current opportunities. We easily believe the narrative that if we had more talented people, more connections, and more money, we could accomplish more. This delusional behavior causes many to miss out of the awe and wonder of the now. We look past the raw untapped opportunities and elements that are before us.

Why would God trust us with more resources, more songs, more people, and more influence if we are not maximizing our current platforms? He won't. It's a Kingdom principle.

Luke 16:10 says, “Whoever is faithful with very little will also be faithful with much, and whoever is dishonest with very little will also be dishonest with much.”

Whoever is faithful with very little will also be faithful with much, and whoever is dishonest with very little will also be dishonest with much.

LU K E

The great thing about all of this is that the Holy Spirit is the most creative, authentic, and relevant person in the world. Since He lives in us, we should have to look no further for inspiration than Him. In His presence will come melodies, lyrics, and progressions that will transcend generations and will leave an eternal mark. Lord, help us to not settle for the comfortable and mechanical. Allow the Holy Spirit to push your worship times beyond what you can see or plan. We must creatively prepare our music with thought and intent, but must always create space for Him to move and do as He desires. How can we not create space for the One who invented it?

As worship leaders, being aware that certain songs can carry specific anointings for each service is also imperative and should greatly steer our times of leading worship. When leading, one's goal is not to just get through the set, but it is to create an atmosphere where people are connecting to God. I have found that good worship leaders may excite a room, but great worship leaders unite the room.

As we make a fresh commitment to faithfulness and creativity, we must also remember that it’s not the senior pastor’s responsibility to expand the worship ministry; it’s ours. That’s why they hired us. We are to oversee and passionately expand that area within the vision that God has given them. I thank God for other songs and worship teams in the Body of Christ. However, don’t be satisfied with just singing other people’s songs. Let the songs that God gave you emerge. Let the songs from your church and your season arise. I believe that every ministry should have a sound. Don’t be satisfied until yours does, and makes the mark you were destined to leave.

16:10

Do not neglect the gift that is in you, which was given you through the prophecy spoken over you at the laying on of the hands of the elders. Be diligent in these matters and absorbed in them, so that your progress will be evident to all.

1 TIMOTHY 4:14-15

Do not be an echo. Be the voice that cuts through the noise of routine. Be the sound of faith that causes a shift in the atmosphere which you oversee. Be a worship ministry that is so influential, that people are drawn in by your team’s anointing.

Our focus is not to just write the songs that sound catchy and relevant, but to lead songs that lift the congregation in unity and truly bring Heaven to Earth.

BY

M A R C U S

C R I N E R

WORSHIP PASTOR, AUTHOR

Marcus is currently serving at Anchor Faith Church in St. Augustine, Florida. anchorfaith.com @marcuscriner

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MONOTONY + IMAGINATION

BY DR. NANCY NETHERCOTT

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G

od is the author of creativity and imagination! Viewing both small and grand aspects of the beauty of the world around us or cuddling a newborn baby gives us just a glimpse of the depth and breadth of that imaginative creativity. We, as imago Dei, are gifted with those qualities. We are invited to be creative and use our imaginations in our everyday lives and worship planning and leading.

Creativity in leading worship has, at times, been taken to mean we need to come up with something "new" and "unique" every week, exhausting the worship planning team. This need to continually create a fresh experience in worship can lead to entertainment-style features to try and bring people into or keep people in the church.

Some see creativity and imagination in worship as the anecdote to sameness or monotony, which they fear will lead to boredom.

Author and theologian G.K. Chesterton gives insight on monotony and boredom. "Because children have abounding vitality because they are in spirit fierce and free, therefore they want things repeated and unchanged. They always say, 'Do it again'; and the grown-up person does it again until he is nearly dead. For grownup people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony. It is possible that God says every morning, 'Do it again' to the sun; and every evening, 'Do it again' to the moon. It may not be automatic necessity that makes all daisies alike; it may be that God makes every daisy separately, but has never got tired of making them. It may be that He has the eternal appetite of infancy; for we have sinned and grown old, and our Father is younger than we."

In light of Chesterton's quote, Ben Sternke, one of the priests of the Table Anglican Church I attend, wrote an email to the church folks. It read, "Have you noticed that the parts of the worship service that the kids love the most are the ones we do the same week after week? We could take a cue from them, I think! Blessings to you this weekend in the 'monotony' of worship."

So, God is the author of both creativity and imagination AND monotony and rhythm! We all wake up each morning and fall into a routine—brushing our teeth, eating breakfast, making our bed (well, not everyone!), getting dressed, time in the Word, etc. While each

GOD IS THE AUTHOR.

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day has twists and turns and surprises, no day is ever a blank slate waiting for us to create or imagine unique, fresh ideas. Refreshing or bringing creativity into the already established rhythm of life can have a meaningful effect on keeping the monotony from becoming boring.

Rhythms, habits, routines are necessary parts of life, and also essential components of corporate worship.

I have numerous ideas for how to infuse the rhythm or monotony of a worship service with creativity and imagination. Silence, creative Scripture presentation, Psalm singing, liturgical dance, or other art forms can be effective. But I'd rather share what happened at my church this past Sunday. The Gospel passage that informed Andrea Reinhardt's message was Luke 13:1017. As she concluded her message, Andrea led us in an Ignatian exercise known as "Imaginative Prayer" using verses 10-13 of the Luke passage (see inset). It was the third reading of that passage during the service. It could have been considered monotonous or boring but was made fresh and meaningful by engaging our imagination as she reread it. Within the weekly rhythm of the liturgy, we were allowed time and space to be still, to be silent, and to use our imagination to respond to Jesus and be shaped by the Word.

The late Robert Webber, who contributed extensively to Worship Leader magazine, wrote this in one of his final books, Divine Embrace: Recovering the Passionate

D R .

N A N C Y

N E T H E R C OT T, D .W. S CHAPLAIN, THE ROBERT E. WEBBER INSTITUTE FOR WORSHIP STUDIES

Spiritual Life. "‌In the postmodern world, the way of knowing has changed. We now live in a world in which people have lost interest in argument and have taken to story, imagination, mystery, ambiguity, and vision." He also noted that it is Christianity as a story that compels people to engage with interest in spiritual conversations. When we have everything spelled out for us, our imagination shuts down. But when we are invited into a story or creative process, our desire to know more, to seek until we find, is ignited and heightened. That is what happened last Sunday morning! That is what can happen in our times of corporate worship as we prayerfully discern how to use creativity and imagination to recover the spiritual life.

In his book, You Are What You Love: The Spiritual Power of Habit, author James A. K. Smith asserts that "worship is the 'imagination station' that incubates our loves and longings so that our cultural endeavors are indexed toward God and His Kingdom." It is through the habits nurtured in the monotonous rhythm of corporate worship infused with God-given imagination where much of the formation of our people take place.

Monotony and imagination, woven together meaningfully, can have a significant impact on your church's worship. Blessings to you this weekend in the "creative monotony" of worship.

Nancy Nethercott served as a missionary in Japan for almost 30 years. Currently based in Indianapolis, IN, she travels internationally, training pastors and leaders in foundations of Biblical worship and spiritual formation. Nancy has a Doctorate of Worship Studies from The Robert E. Webber Institute for Worship Studies (IWS) where she serves as Chaplain.

faithandlearning.org/projects/nancy-nethercott-asia

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LITURGICAL RESPONSE // IMAGINATIVE PRAYER BY A N D R E A R E I N H A R DT with ideas from the Pray As You Go App

We'll take some time today for an exercise in imaginative contemplation on our Gospel passage. This is a practice offered

by St. Ignatius of Loyola to engage our thoughts, emotions, and senses in prayer.

It prompts us to use our imagination to place ourselves in the stories of Jesus.

I want to invite you to close your eyes and sit comfortably. You may want to place your hands on your lap or near your knees, either palms down or palms up.

TAKE A DEEP BREATH. How do you feel today? What is in your thoughts? Take another deep breath, and as you breathe out, release your thoughts and concerns to God.

WE'LL READ LUKE 13:10-13 AGAIN. On a Sabbath, Jesus was teaching in one of the synagogues, and a woman was there who had been crippled by a spirit for eighteen years. She was bent over and could not straighten up at all. When Jesus saw her, he called her forward and said to her, "Woman, you are set free from your infirmity." Then he put his hands on her, and immediately she straightened up and praised God.

NOW PLACE YOURSELF IN THE SCENE. Who are you? Perhaps someone in the crowd? Or maybe one of the disciples? Or even the bent-over woman who is not able to straighten up?

Look around the room again from your new perspective. Where are you located in the hall? Are you sitting, or are you standing?

How does your body feel—comfortable or uncomfortable?

Who are the people sitting and standing nearest to you? Where is the synagogue ruler? Where is the woman who cannot straighten her back? Find and study her for a moment. What does she want here today?

How do you feel when you see her?

NOW, LOOK OVER TO JESUS, TEACHING IN THE MIDDLE OF THE ROOM.

PAUSE FOR A MOMENT. Let God look at you the way He wants to gaze upon you today.

IMAGINE THE SCENE. It is the Sabbath, a Saturday, and a crowd fills the synagogue hall. Most of them form a semi-circle around the room seated on tiers of benches that line three of the walls. The stone wall of the synagogue forms the backdrop behind them; in front of them, a row of smooth, stone pillars circles the open space of the synagogue hall. In the middle of the open space, in the middle of the synagogue hall, sits Jesus, who is teaching the crowd.

Watch as Jesus takes notice of the woman who is bent over. Does His face change?

What movements does He make as He notices her?

Jesus stands and calls the woman forward, asking her to come to the center of the room with Him. What do you notice about her reaction? Watch her step toward Jesus. What is her movement like? How do you feel as you watch her approach Him? Notice as Jesus places His hands on the woman and as she responds by straightening her body and standing up tall. As she begins praising God, how is the crowd reacting?

How are you reacting?

Later, when Jesus has finishing teaching, and the crowd is beginning to disperse, watch as the woman who has been healed walks upright out of the synagogue.

Now is your chance to go to Jesus yourself or let Him come to you. How do you look at each other? What words are spoken?

What happens?

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T

here are many compelling reasons for us to utilize creativity in our worship services. The most obvious—and least surprising—is that we are fashioned in the image of God. Creativity is one of God's foundational attributes—both in His formation of the universe and in the way He guides His people and strategizes against the enemy. No doubt, He is always doing a new thing.

Let's see if we can put our finger on some of the reasons why.

Have you ever felt complacent in your relationship with God? Have you ever found yourself slipping into robotic worship mode on a Sunday morning? As a leader, have you ever struggled with losing the heart behind singing songs in church?

These are real battles, and we all face them; even more so, at times, in leadership. But thankfully, there are a few things we can do to reverse our natural inclination toward apathy—for ourselves and our congregations.

Creativity is one of the most practical resources we have been given. How so? Well, from where I sit, we have a threefold purpose in creativity: • To bring glory to God. • To bring joy to life.

• To serve others in their pursuit of God. Let's break it down.

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Maximizing Creative Potential in Worship

CONTINUALLY CREATING When we move in creativity, we reveal God's likeness in us, just as He desires. Our movements give Him glory by helping us maximize our effectiveness in His Kingdom.

We may imagine that God's creativity ground to a halt the moment the sixth day came to a close, almost as if He intended to set the world into motion and then sit uninvolved for all of eternity. This could not be further from the truth. The very idea that God took a Sabbath rest implies that there was still work to be done. Otherwise, He would have rested on the eighth, ninth, and tenth days, and every day following. But no. Beginning no later than the eighth day, God rested from resting and got back to work (see John 5:17). To this day, He is continuously creating, renewing, reworking, and reviving. And He calls us to the same.

Six days a week.

Truthfully, unless a person believes in extreme predestination—where every detail of the universe has already been determined—it's easy to recognize the world's fluidity.

With seven billion people on the planet, all making choices according to their own free will, and angels and demons stepping in to wreak havoc here and there and everywhere, no rocket scientist is required to see the many reasons for God—and us—to engage creatively. Repeatedly. Consistently. Resourcefully.

The Bible backs up God's continual creative involvement in our world—long after He formed it: "For I am about to do something new. See, I have already begun! Do you not see it? I will make a pathway through the wilderness. I will create rivers in the dry wasteland" (Isaiah 43:19). Truth be told, God gets a kick out of making things new. And so should we.

It is a tad troublesome since another word surrounding creativity is the word change. Many of us are reluctant to change, especially in the church. We adopt the idea that once things seem to be working, we must blindly press on in like manner—as if overhauling our methods is somehow repudiated by God. But we're not talking about changing our beliefs, or backing away from the foundational truths of the Gospel. The message remains the same. We honor God's message when we listen to the voice of His Spirit to bring a freshness to its means of delivery. Jesus did the same as we'll discover.

UTTER BOREDOM Another reason God directs us to utilize creativity in our services is to keep things fresh for ourselves, our teams, and our congregants. This may seem unspiritual, but I assure you it is not.

It is service. It is love.

As tough as it may be to admit, we've all rolled our eyes—at least internally—upon hearing leaders overuse phrases, songs, structures, and prayers, all birthed out of ritualistic religious habits. We've all tired of hearing the same ole handful of scriptures again and again. We are used to making the same ole points again and again—of hearing the same ole songs played the same ole ways so that we can predict every build, every dynamic change, every hallelujah, and every end-of-song clap offering.

But predictability is not God's heart. Mundane is not God's approach. No. There is infinitely more depth to His heart, and He has much more for us in life than predictable Sunday escapades. Haven't you noticed? The way He fashioned a world where everything is continuously moving and changing? Haven't you noticed? The way the scriptures are written in such a way that there is level upon level of intrigue, line upon line of hidden meanings, story after story that pertains even to the most mundane parts of our lives?

One thing for sure, God is passionate about inviting us to live in a world beyond our capacity to discover it all. For the express purpose of providing us with the joy of newness. Day after day.

For all of our lives. And ultimately, for all of eternity. With love as His primary motive.

Thankfully, God is dead set against boredom. Our churches often are not. "You have heard my predictions and seen them fulfilled, but you refuse to admit it. Now I will tell you new things, secrets you have not yet heard. They are brand new, not things from the past. So you cannot say, 'We knew that all the time!'" (Isaiah 48:6-7).

Wow. Does God have us pegged, or what? It's funny. Yet it surprises us to discover how well He knows us. How well He recognizes our tendencies. Even still, what a blessing to know He has employed His supernatural creativity to our lives to keep us from falling into that oh, so dangerous "been there, done that" mentality. And we must do the same for our teams and congregations.

NOW WE'RE COOKING I'm not a huge fan of nicknames. Especially for me. But recently, one of my former students gave me a nickname. And I love it! You see, I'm always reminding our worship leading students at North Central University that, as leaders, our job is often more about bringing confirmation than providing revelation. What I mean by this is, we are not always expected to present ideas and perspectives to our congregations that no one has ever heard of before—revelation. But we are continually expected to bring ideas and perspectives to our congregations that reestablish what we already know—in fresh and compelling ways—confirmation. The most effective leaders find ways to remind us creatively of all the things we've previously known— things we've likely grown indifferent towards—to make them come back to life again.

It's true. One of the most common things the Bible declares of the Israelites is, "And they forgot." Yep. They forgot God's ways. His love. His kindness. His provision. They forgot their purpose and joy—even God's very existence. And we do too.

This generational amnesia is how I got my nickname—Chef Deyo. Because I repeatedly remind our students of this leadership strategy by referring to the way a pot of soup needs to be stirred.

Regularly. I'm not a good cook by any means, but my momma taught me enough to know that if I don't stir the soup when the burner is cool, the top will crust over. And if I don't stir the soup when the burner is hot, the bottom will burn.

Think about it. Not surprisingly, a large part of worship leadership is simply stirring things—the foundational things— from day to day, from week to week, reminding people of all the wonders of God; all the reasons to worship Him. We are to be inventive in the way we order our songs. In the way we arrange the sections. In the way we use our dynamics. In the way we plan for powerful musical moments. And so much more. When we continue to copy and paste our songs and our services, it promotes the opposite of what we are praying for—spiritual apathy. And yet, God has given us creativity—by His Spirit—as a weapon to fight against this life-sucking paradigm.

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KARAOKE BANDS During their 2015 Super Bowl run, former Denver Bronco, Antonio Smith, was asked how the team kept from growing complacent throughout a 16-game season. This is what he said: "It seems like a simple thing to say, but complacency is real.

When you're feeling good, and everybody is patting you on the back. You get to feeling, 'Aw, this feels comfortable. This feels nice. Let me enjoy it.' But the one thing we don't do is let that happen."

Such complacency happens to us in our churches more than we realize. I remember something a friend told me during his years in a popular Christian band. After dreaming for years of hitting the road fulltime, he now found himself bored and counting people with red shirts in the massive crowds. Just to pass the time. Why? Because after 100 cities of doing the same songs the same way in the same order, it all started to become a blur.

It all started to lose its meaning. And he began to lose the joy of playing.

As leaders, this is the paradox we face. People are largely jaded toward the 'same ole same ole' even while being hostile toward change. Even the singers and musicians on our teams slowly begin to disengage when things are repeatedly done the same way. Played the same way.

Sung the same way. Said the same way.

It's like we all begin to slip into a coma.

Spiritually. Emotionally. Relationally.

This is a leader's worst nightmare. We must understand that a large part of the joy of making music together is continuing to stoke the fires of creativity. I've heard some leaders wisely call for the end of the karaoke band approach. Where local worship teams mindlessly cover popular worship songs in precisely the same manner as the popular worship bands recorded them down to the exact vocal licks and guitar solos.

While doing so might seem like a stellar way to produce the same results as these influential worship bands, it doesn't. Think about it. Those bands didn't use this approach. They didn't copy other bands. They did something fresh. For their congregation.

For their spiritual family. With the help and direction of the Spirit. Copying will always backfire. Why? Because God is protecting us from our attempts to elevate recreating above creating. Imitation above formation. Copying over crafting.

Knowing full well that replication fights against the abundant life to which He has called us.

The question is not, "How can we package and redistribute the things other successful worship bands have already created." No. The question is, "Lord, what are You doing in our church?"

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The question is not, "How can we package and redistribute the things other successful worship bands have already created."

No. The question is, "Lord, what are You doing in our church?

What are You speaking to our people? What is needed at this moment?" Of course, this is not to say we cannot learn from others. But it is to say that God has put His Spirit of creativity in each and every person. Ignoring this mysterious wonder to regurgitate what others have done is entirely counterproductive to the advance of the Kingdom.

PROTECTING OURSELVES FROM OURSELVES Have you noticed our passion for formularizing everything? Have you also noticed Jesus' express passion for keeping us from doing so? Why? Because, if we are allowed to formularize spiritual things, ultimately, we will arrive at a belief that says we are no longer in need of listening to the voice of God's Spirit. We will have become self-sufficient. We will be able to put things on autopilot and cruise towards "success."

Thankfully, this is something God does not allow. For our protection. Let me be as blunt as possible: when our sermons, prayers, musical worship sets, and service orders have become predictable, we can unquestionably know that we are not following the Spirit of God. You see, when we believe we have 'figured it out,' we will subconsciously attempt to manufacture church. Embracing self-reliance, we will gravitate toward manipulating people's emotions rather than sinuously relying on and listening for the voice of the Holy Spirit.

Our God is a rock. His nature is unchanging. His message is unwavering. But He is also the wind. His methods change.

Just look at the way Jesus healed the sick. One minute He's rubbing dirt and spit together to put on some blind dude's eyes.

The next He's allowing healing power to flow from the hem of His garment. In one instant, He speaks healing to the lame man standing before Him. The next, He heals the centurion's servant from miles away. He commands the dead to rise and brings healing to others by casting out demons. Some lepers did not even receive their healing from Jesus until they began to walk away.

Can't we see that Jesus is attempting to protect us—loving us—by keeping us from formularizing supernatural healing? He healed people differently each time. And why? Firstly, because each situation was unique and required a creative, supernatural approach. Secondly, to keep us from attempting to cut Him out of the process. Sadly, our natural inclination is to discover it, reproduce it, and redistribute it to the masses. Mindlessly. We want to learn it and apply it with no thought of the importance of walking together with God in a relationship. Thankfully, God is inviting us to be engaged—together with Him—in each and every encounter. Each and every service. Wrestling. Questioning.

Listening. Responding. In harmony with His Spirit. This is good for the Kingdom, and it is wonderful for us.

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OUT OF THE NUMB Keeping things fresh helps everyone—ourselves, the band, and the congregation. Implementing simple strategies like playing slow songs fast, or playing fast songs slow can usher in a new perspective, helping us all process lyrics and moments in a new way. Beginning an occasional service with a slow song— instead of with the typical fast one—can help to break people out of the numb. Heaven, forbid! Start with a slow song? What will people think? Could it be uncomfortable? Sure. But ultimately, it will stir up exactly what we are looking for—vibrant, awake, and alive Christ-followers.

Trust me; the Hillsong police are not going to show up if we don't play the song the same way they do. Remember, they had to choose one way to record it on the album, but that doesn't mean they don't lead it differently for their home church. "But what if we're using Ableton with multitracks? Aren't we stuck to the static form?" No. Did you know you can edit the tracks in Ableton so you can have the best of both worlds? Yep. Crazy right? You can cut and paste sections of your song to start with the bridge instead of the chorus. You can add a chorus near the end. You can even create a medley of songs by putting a couple together.

Ask yourself. Have you ever wished there was a fundamental change or a dramatic stop or a "drums-only" moment in a particular spot in your favorite worship song? Make it happen!

That's what the Spirit of God is urging you to do by giving you creative ideas. He knows so much better than we do how this will help our congregations awake from the deep sleep we've put them in by serving up yet another cookie-cutter service or song arrangement.

Because people's natural tendency is to aim for the path of least resistance, one of our most important jobs as a worship leader is to utilize creativity in the way we seek God together to continually establish a vibrant, authentic worship culture that shakes people free from the "numb." From the "blah." From "robotic worship." We aim to serve people in this way to launch them into connecting with God rather than into connecting with a religious system.

"But what if it gets out of hand? What if we start focusing on

how great we sound or on being creative for creativity's sake?"

Then, I'd say, "Stop doing that!" Really! I love this quote from Stephen Miller taken from his book Worship Leaders, We Are Not Rock Stars; "While creativity is a wonderful servant to worship, it is a terrible master." Continually remind yourself and your teams that creativity is a tool. A tool to help people love God. Refuse to be creative just because it's fun. It is fun, and it should be. It's still one of the reasons to reinstate creativity into your musical worship set. But there is an even greater purpose for creativity, and we must continually posture ourselves to listen to the Holy Spirit as He nudges us toward innovative musical expressions that help people open their hearts to God and His beauty. Beware, providing little to no creativity in our services, will undoubtedly reemphasize a zombie-like church culture. And yet, creativity that is inspired by the Spirit will go a long way toward bringing glory to God, bringing joy back to the music, and serving the body of Christ.

BY

Jeff is a worship leader, author, recording artist, songwriter, speaker, podcaster, and professor who could eat Mexican food for every meal! He is known internationally as the former lead singer of the Grammy-nominated, Dove Award-winning group, Sonicflood, and lives to help people grow closer to God. He recently released his first book, Awakening Pure Worship, and he is the creator of the Pure Worship Podcast and the Pure Worship Institute. He holds the high honor of being a professor at North Central University in Minneapolis, MN, and he is one of the worship pastors at Celebration Church in Lakeville, MN. He travels extensively leading worship, speaking, and coaching worship teams, and he has been happily married to his college sweetheart, Martha, since 1992. Together, they have four beautiful children, Roman, Evan, Channing, and Clara as well as two pet leopard geckos, two beta fish, and one mouse named Raton. jeffdeyo.com jeffdeyo

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J E F F

D E YO

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C AT H E DR A L S of M E A N I NG

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n the musical Hamilton, Liza sings to Alexander, her husband, that he has created "cathedrals of words." If such a construct does indeed exist, our goal in worship should be to develop cathedrals of meaning.

One day, when my son was about three years old, he and I were in the family room, rolling a ball back and forth. A TV with a looping news show was on in the background. As the top of the hour came around, I decided to take a break for the news. I said, "Charlie, let's catch the news." Charlie toddled over to the TV and spread out his arms to "catch" the news—just the way he had been catching the ball I had been rolling to him. I suddenly realized that throughout his young life, I had been creating for him a world in which the word "catch" meant one thing.

That was the moment I began to rethink what I was doing as a worship leader. It was a moment of realization that worship creates a climate for perceiving who God is, and what He has done and is doing. I began wondering if I had been inadvertently creating misperceptions.

Commenting on the first line of the Apostles Creed (I believe in God the Father Almighty, Maker of all things), Dorothy L. Sayers notes: "…the great fundamental quality that makes God, and us with Him, what we are is creative activity." Bearing His image, we can't help it. We constantly create, whether we know it or not. That's especially worth underscoring for those of us who lead worship.

In the church I was serving at the time, for fear that communion would become rote and mundane, we had included it in worship infrequently. I began wondering if we were creating a sense that the Bread of Heaven was an immaterial idea rather than a living person. Something you related to only through abstract nouns like "justification" and "sanctification" rather than a person who comes to you in the messiness and earthiness of life's wilderness journey.

I also began wondering if the tone of our communion was somehow "off." It usually felt tacked-on and evoked a sense of condescension and, on occasion, gave off a funeral vibe.

It was always made clear that nothing magic was going on.

Despite that fact, I wondered if our pedantic over-warning about coming to the table "in an unworthy fashion" was making those who were struggling afraid that their faith was inauthentic.

Feeling like every prayer needed to come directly from the heart, we only prayed impromptu. I began wondering if we were creating a climate that presumed the God of

Garden-of-Eden-to-New-Jerusalem–redemption could inspire only at the moment and not ahead of time.

Corporate readings, as well as corporate prayers, had been out of bounds for us because some members said those things felt too "churchy." Even if a prayer like the Lord's Prayer came from Jesus Himself, and even if the readings were straight Scripture or the Apostles Creed's crystallization of scriptural truth... I began wondering if we were unwittingly contributing to a prideful individualism that made each person the arbiter of their own truth.

As I continued to process my personal reflections on worship while my son was "catching" the news, I landed in a worship world that is shaped by the abundant resources in the Book of Common Prayer. That worship manual speaks to the joyful hope that comes with knowing Christ, to His comfort in pain, and His provision of nourishment for the soul. …in these last days, you sent Him to be…the Savior and Redeemer of the world. In Him, you have delivered us from evil and made us worthy to stand before you. In Him, you have brought us out of error into truth, out of sin into righteousness, out of death into life. …Open our eyes to see your hand at work in the world about us. Deliver us from the presumption of coming to this Table for solace only, and not for strength; for pardon only, and not for renewal. Let the grace of this Holy Communion make us one body, one spirit in Christ, that we may worthily serve the world in His name. Risen Lord, be known to us in the breaking of the Bread.

We are all called to different settings—each of which should be respected and loved. We all have different levels of authority and influence—all of it under the kind and firm hand of Jesus. But it's always worth considering the type of cathedral of meaning we create, whatever the setting and whatever the contribution.

BY

D R .

R E G G I E

K I D D

Dr. Reggie Kidd joined Reformed Theological Seminary in 1990 and served as Professor of New Testament. Dr. Kidd is an ordained priest in The Episcopal Church and has served as a pastor and elder at multiple churches.

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RECLAIMING CREATIVITY

F

BY RYAN KENNEDY

rom the beginning of time, our God has been marvelously crafting and speaking into existence this beautiful experience we call life. Part of His incredible design is our ability to journey across the spectrum of emotions.

We have been designed to feel deeply— to have both joy and sadness, to feel love and also endure hurt, to know happiness and still taste the bitterness of anger. The writer of Ecclesiastes would say that with this ability to feel there is a season and a time for almost every emotion. And for every reality of the human experience, there is also a lesser, often counterfeit, adaptation of the same experience. Though not inherently evil, this pseudo-experience manipulates what was once designed for God and His Kingdom and instead exploits these gifts for the temporary thrills of the secular world. Still, whether sincere or produced, humanity is guided and moved by the way the heart and the mind perceive our experiences (when not ruled by the Spirit).

THE POWER OF STORY AND BEYOND For many years, my job was to encapsulate the human experience in the snapshot of a two-hour theatrical musical performance. As a composer and playwright, I wrote stories into songs and onto paper, then onto the stage where the hope was that it would connect with the people who filled the seats—and it did.

And, I guess you could say I got it figured out, at least to a certain level, as I became the recipient of awards and other accolades that don't mean much to me now. Using music, lyrics, narrative arc, lighting, stage design and other tools of creativity, I found that I was able to tap into the heart —reach the deeper parts—through the use of art and creative application of a story.

We weren't just storytellers; we were like guides taking the audience on a journey. Once you get past the songs, the dancing, and the costumes, there was a much more intentional purpose to what we did. If done well, the intention was to move someone from a place of apathy to a place of understanding and response.

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While it may not seem like this at first glance, if you take a look past the glitz and glitter, you'll find that many musicals deal with deep-seated issues of culture and the human condition. Rather than pointing the finger or putting the audience on the defense, we led them into the story and creatively wove the message into the songs and the plot lines. Without knowing it, the audience was able to develop a quasifirst-hand experience that allowed them to relate to the issues the characters were experiencing in ways they could never have before. Topics like racism, abuse, power, poverty, the disenfranchised, and many others are written into the fabric of some of the most well-known musicals.

The hope is to take the audience beyond understanding to a place of activism and awareness. By inviting the audience into the story, their viewpoint changed, and so did their assumptions. Read that last sentence again. It's important.

WORSHIP AS MUSICAL THEATRE? If you're like me, by now, you're probably asking yourself, "So, how does musical theatre relate to worship?" And I'm glad you asked. Because, while some aspects of the creative process are similar, the heartbeat and the goal is so diametrically different that I struggled at first with the comparison. However, I believe there is one primary creative tool we can learn from my friends still on Broadway. We both share an audience, experience with people who have a choice to participate, or merely watch. We both have a message, and we both use the creative arts to invite the participant/ listener into the story. It's worth noting that while the Church is struggling to reach those outside their doors, tickets to Hamilton are sold out for the foreseeable future. And while a score by Lin-Manuel Miranda will keep your foot tapping and tickle your ears, the cross of Christ can change your life. So, here's my challenge to us all: Is it time for the Church to reclaim the God-designed tools of the creative arts and use them for the Gospel?

What if we could ask the Creator of all

things to create through us atmospheres that draw the lost in and make space for God—encounters where the lifechanging message of Jesus is presented? A place where listeners are invited into the incredible and true story of grace and, by God's mercy, moved from death to life, broken to whole, from apathy to action?

And that's where we, as the creatives in the Church, come in.

Just like a well-written musical takes the audience on a journey, we too are the trek-leader for our communities and those who visit into—a journey of the heart. In the literary world, we call this a narrative arc. The arc is the trail the audience follows with its ups and downs and twists and turns. For those of us in a church context, we facilitate a journey of faith from surrender to follower, from disciple to those who disciple.

The moment we open our doors to the community, depending on the context and setting, we welcome in tens, hundreds, if not thousands, of souls on a journey.

Often, we find those who are traveling down roads that lead to emptiness and heartache. But, we, the Church, have the opportunity to invite them into the story of the Gospel, to join us and lead them on the road of relationship with Jesus, to follow us as we follow Christ.

Our worship sets are a journey. We guide our people with praise and thanksgiving, taking them from the outer courts to the inner courts and into the Throne Room of God. There, we are invited to come before the King of Kings and adore Him, joining in with all of the heavens singing "Holy, Holy, Holy is the Lord God Almighty!" I'm not stating this as some formula: i.e., an invitation song, a praise song, an intimate worship song, a song of unified celebration. When we plan a worship set or a service flow, we should ask ourselves this question: What is the destination today? Since our worship is a response to God, what is he saying to us as a community right now? Where do we want to journey together? We are worship leaders after all, right? So, when we dismiss, are our people leaving the same way they came in or have they

been invited into the amazing, and often surprising, adventure of faith? I urge us not to throw together a list of songs we love simply because they are at the top of the charts. Instead, we should challenge ourselves to think of new ways we can take our people on a journey. We should think of crafting lyrics we sing and the music that accompanies as a pathway to the Holy of Holies. We know when we see God, we are sometimes moved to resounding praise and sometimes to awed silence. Let's make room for Our Lead Worshiper Jesus and the Holy Spirit to lead as we plan. After all, In Hebrews 2:12 and Psalms 22:22 Jesus proclaims, "I will declare Your name to My brethren; In the midst of the congregation, I will sing praise to You."

ENACTING GOD'S VISION At a week-long conference several years ago, I was asked to lead worship for several thousand people. I had my setlists, stacked full of the latest and greatest worship tunes, ready to go. Halfway through the first set of the week, as I was looking out at the sea of people, I realized they weren't connecting. As soon as I stepped off the platform, I deleted the rest of the week's setlists from Planning Center and started with a blank slate. I asked the Lord to help me meet these people where they were spiritually and then began to create a setlist that used lyric and melody as a guide into the more profound frontiers of worship. So, I got creative. And just like I did all those years for musical theatre, weaving together a story that invited the audience on a journey to a destination, I crafted a setlist that did the same. Instead of looking at the service as a block of seven to eight songs, I looked at it as if I had forty-five minutes to get us from the outer courts to the Throne Room before my block of time was over. Like the dialogue that wove together the scenes of a show, I knit together different moments of different songs and their lyrics that flowed almost one right into the other. Sometimes just a tag of a chorus and bridge of a song was enough to get us to the next step on the journey. Hymns, early 2000's

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worship choruses, and today's top tunes, all came together to tell one cohesive story.

Whatever it took, I knew I had forty-five minutes to get us to our destination, and that destination was pure, unrestrained worship of the King. I walked onto the platform that night, and we began to lift a collective song of praise. Songs they had been singing their whole life had new meaning in this story-like context. The set came to life like one continuous song of worship as we all joined together. And unlike hours before, where the very same crowd was disengaged and indifferent, they were now boldly proclaiming the lyrics of the songs as if the words were authentically being birthed from their hearts in that very moment. By creatively adjusting, re-imagining, and steering the messaging towards the destination, I witnessed the power of the invitation into the greatest story ever told. The message of Jesus. His love for us. His sacrifice. His victory. And His eternal glorious reign as the King of Kings and Lord of Lords.

And like a river, effortlessly following the bends of its course, we were swept up in the current of worship and the creative flow of the Spirit landing us right at the feet of Jesus.

So, be released to create and bring to life the glorious truths of the Word of God through song, lyric, media, poetry, and every other God-empowered form of creative artistry heaven can create through you to invite anyone and everyone into the glorious story and message of Jesus Christ!

For those small and home churches with only one or a few players, planners, and singers and no budget for anything who read this and say, "How can we possibly apply these principles?" You need to remember that the longest running musical in New York theatre history— The Fantasticks— began off-Broadway in a tiny theatre. When the average show was spending hundreds of thousands on sets and costumes and players, they spent a few hundred. "The value of wisdom is greater than rubies" (Prov. 8:11), and God is only too willing to share His with you when you ask (James 1:5).

FOLLOWING THE LEADER By heaven's design, humanity is moved by the impulse of creativity. Not to be abused and used to manipulate but to guide and inspire. Am I saying our church gatherings should look anything like a Broadway musical? Absolutely not.

A slick, manufactured performance is the last thing we need in our worship services!

Am I saying that we should be intentional about using the creative tools we've been given to tell the message of the Gospel?

Yes! Do I have the perfect formula for this? None of us do because there is no formula for artistic design. But, do you have the all-powerful, ever creating God alive and active inside you, giving you everything you need to fulfill the call on your life as a creative arts minister? Why, yes. Yes, you do! And that's what matters.

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BY

RYA N

K E N N E DY Ryan is a Christian songwriter, worship leader, electronic R&B/ pop artist, speaker and music producer. ryankennedymusic.com ryankennedyband ryankofficial

A NEW MISSAL TO INSPIRE YOUR ASSEMBLY CHOOSE CHRIST MISSAL 2020

LEARN MORE AT ocp.org/ChooseChristMissal

Choose Christ Missal is a comprehensive, contemporary liturgical resource from a publisher you trust

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I M AG I N I N G

T H E

I M PAC T

O F

T H E

CRE ATIVE AC T

BY

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K E V I N

C LO U D

One day, not long before our final service, I took a morning jog while listening to the soundtrack from Dear Evan Hansen, a Broadway musical. As I ran, I listened to the song, “You Will Be Found”: Have you ever felt like nobody was there?

Have you ever felt forgotten, in the middle of nowhere?

Have you ever felt like you could disappear?

Like you could fall, and no one would hear?

I

n the fall of 2018, for one week, I must have said the same words fifteen times: “Our leadership team has decided to close the doors of our church.”

Each time I spoke these words, I felt numb. The conversations got no easier.

Closing our church was the right decision for many reasons, and yet I had never imagined taking such a step. I had no idea how to lead myself through the painful process, let alone lead the others who had depended on me.

I felt deep sadness and anger—anger towards myself, anger towards members of our team who had let me down, and anger towards God for calling me to plant this church only to have it fail. I felt disappointed in myself and my failures as a leader. Embarrassed, I found myself drowning in self-doubt.

The lyrics captured the disappointment, discouragement, and loneliness that I felt about my life and ministry. Then, unexpectedly, the chorus turned towards hope: Even when the dark comes crashing through, When you need a friend to carry you, and when you’re broken on the ground you will be found.

So let the sun come streaming in, cause you’ll reach up and you’ll rise again.

Lift your head and look around, you will be found.

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I stopped running. I stood on the sidewalk, right in the middle of my neighborhood, weeping, hands on my knees, crying hard.

For the first time since learning the church would have to close, I saw a tiny sliver of hope. I began to wonder if maybe, just maybe, the sun would come streaming in for me. I considered the possibility that after this mess, I might rise again.

That song on my morning jog facilitated a moment of healing, encouragement, and hope. The Lord spoke to me that morning through the lyrics and music of Dear Evan Hansen, reminding me that, although life felt dark and hopeless at the moment, I would make it through. What a gift.

I received that gift because a group of people put their creative fingerprints on Dear Evan Hansen. Writers, actors, costume designers, and musicians; sound engineers, dancers, producers, and stagehands—all of them gave themselves to the creative act, and their creation sent a ripple out into the world, washing over me at the exact time that I needed it.

Every time we create, we send a ripple out into the world that holds an almost unimaginable power for good. A ripple that brings hope or a new perspective. A ripple that inspires dreams in us that have been dormant for too long. A ripple that helps us feel known and understood and not alone.

We have all experienced the power of a creative ripple. A woman unexpectedly

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weeps in front of a painting at an art gallery.

A college student, bullied in middle school, tells how a movie about Jackie Robinson helped him find the courage to face life’s challenges. A gospel singer shares how hearing a popular R&B song inspired her to pursue a calling in music. For another woman, the movie Les Misérables provided her first tangible expression of grace. The creators of these works sent a ripple out into the world that washed over people and transformed their lives, just as Dear Evan Hansen did for me.

And yet too many creatives fail to imagine the potential that their creative work holds. Over the past few years, I’ve traveled the country teaching workshops on creativity and faith in the wake of the 2017 publication of my book, God and Hamilton: Spiritual Themes From the Life of Alexander Hamilton & the Broadway Musical He Inspired. At churches, Christian theatre companies, and fine arts colleges, I’ve been asked to speak about life at the intersection of creativity and faith. These invitations have led to hundreds of conversations with brilliant and inspired creatives who use their gifts to bless our world.

One common struggle routinely comes up in many of these conversations.

Creatives wonder if their work makes a difference. They question if they make a real impact. They doubt that God uses them in significant ways. They fail to imagine the power of the creative act.

These questions are relevant for worship leaders. Every single time you stand in front of a community leading them in worship, you send a ripple out into the world. When you use your creative gifts to lead others into the presence of God, you offer them an incredible gift. You will never know all the ways those ripples bring healing and hope to people who desperately need it. I can’t tell you how many times God has used a moment in a worship service to transform my life. The more you dare to imagine the impact of these creative ripples, the more you will enter into each worship service you lead with intention, presence, and expectation.

Offering these creative gifts to the world is how each of us is called to live. In his letter to the Church in Galatia, St. Paul writes, “Live creatively, friends…Make a careful exploration of who you are and the work you have been given, and then sink yourself into that. Don’t be impressed with yourself.

Don’t compare yourself with others. Each of you must take responsibility for doing the creative best you can with your own life.”

When we live out this passage, faithfully taking responsibility for doing our creative best, we send ripples out into the world that hold an almost unimaginable power for good. This is the gift you offer every single time you lead others in worship.

Are you ready to start creating some ripples? Let’s get moving. The world is waiting.

BY

K E V I N

C LO U D DIRECTOR OF SPIRITUAL LIFE AT THE CULTURE HOUSE Kevin is a national speaker and author of God and Hamilton: Spiritual Themes From the Life of Alexander Hamilton and the Broadway musical He Inspired. Kevin has planted four churches and currently serves as director of spiritual life at The Culture House.

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Creat ive L E A D I N G

T H E

C R OW D

TO

CONNEC TI ONS

I N T I M AC Y

W I T H

G O D

L E A D

W I T H

L OV E

P R AY

YO U R

S O N G S

G R E E T T H E C O N G R E G AT I O N B E F O R E YO U G E T O N S TAG E A N D A F T E R

D

o you wish your congregation participated more during your worship services? Are you looking for creative ways to more effectively communicate the Good News of Jesus Christ in your worship services?

Are you frustrated, feel like moving on, or giving up on ministry? Before I share the backstory of the importance of creativity in the local church, check out these practical principles, that must be empowered by the Holy Spirit to work. I hope these ideas will encourage your creativity and benefit your ministry as they have mine.

L E A D S O N G S I N T H E C U LT U R E O F T H E C O N G R E G AT I O N S I N G S O N G S I N T H E K E Y C O N G R E G AT I O N ( S E E M Y

O F T H E A P P)

S I N G FA M I L I A R S O N G S — I N C O R P O R AT E S O N G S R E G U L A R LY B U T S PA R I N G LY

N E W

U S E T H E O L O G I C A L LY AC C U R AT E LY R I C S T E R M S T H AT G U E S T S C A N U N D E R S TA N D C H O O S E T E M P O S T H AT F I T T H E A N D M E S S AG E O F T H E LY R I C

W I T H

M E T E R

D I S P L AY O R P R I N T LY R I C S C L E A R LY A N D I N T H E C O R R E C T O R D E R P R E F E R T H E C O N G R E G AT I O N ' S O R C O M M U N I T Y ' S M U S I C A L S T Y L E P R E F E R E N C E OV E R T H E S TA F F ' S D O N ' T R A D I O

C H O O S E S O N G S S O L E LY B A S E D O R P O L L I N G P O P U L A R I T Y

O N

P U T T H E S O N G S I N A S E Q U E N C E T H AT TA K E T H E C R OW D O N A J O U R N E Y T OWA R D I N T I M AC Y I N WO R S H I P F E AT U R E VO C A L M E L O DY A S T H E P R O M I N E N T S O U N D I N T H E M I X : C O N G R E G AT I O N S S I N G T O S I N G E R S A F FA B LY

F O C U S O N C O N N E C T I O N , N O T P E R F E C T I O N — E XC E L L E N C E I S VA LUA B L E , B U T I T ' S N OT T H E G OA L A LWAYS U S E

BY

R I C K

M U C H OW

C L E A R LY, I N T E N T I O N A L LY, A N D I N V I T E T H E C R OW D T O S I N G

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D O

YO U R

B E S T— B E

S O N G S

T H AT

S U P P O R T

P R E PA R E D T H E

S E R M O N

T H E M E

BACK STORY Worship is the most important reason God gives creative gifts to His people.

Worship is faith expressed. The creative worship leader's goal is to connect the crowd to God. It is an understatement to say that congregational singing benefits from the use of creativity. It is a biblical practice to use creativity in worship: "See, the Lord has called by name Bezalel the son of Uri, son of Hur, of the tribe of Judah; and he has filled him with the Spirit of God, with skill, with intelligence, with knowledge, and with all craftsmanship, to devise artistic designs, to work in gold and silver and bronze, in cutting stones for setting, and in carving wood, for work in every skilled craft" (Exodus 35:30-33).

Well-crafted lyrics and melodies engage the hearts, minds, and voices of the congregation. While creativity is a good companion to worship, designing a worship service begins with prayer and God's creative leadership. The worship leader's creativity is not an appropriate replacement for the work of the Holy Spirit. The Bible says, "I am the vine; you are the branches. Whoever abides in me and I in him...bears much fruit, for apart from me you can do nothing" (John 15:5).

Gifted artists must realize the source of their creativity. The Bible is clear that real ministry cannot be done apart from God: "Not by might, nor by power, but by my Spirit, says the LORD of hosts" (Zechariah 4:6).

The purpose, priority, and presence of creativity in the church are to bring Glory to God and to connect the crowd to intimacy with God. Singing is just one of many ways the congregation can participate creatively in worship; however, it may be the most impacting. Rick Warren says, "As a pastor, I hate to admit this, but people don't remember sermons or speeches—they

don't even remember paragraphs. What people remember are simple statements, slogans, and phrases."

Simple statements, slogans, and phrases are hallmarks of great songs.

Other great speakers, such as C.H. Spurgeon concur: "Personal praise is sweet unto God, but congregational praise has a multiplicity of sweetness in it!" Martin Luther said, "Next to theology, I give the first and highest honor to music."

Throughout history, church music has experienced different levels of congregational involvement. For example, in the Middle Ages, the western church congregations were silenced and forbidden to read Scripture aloud or sing during corporate worship services. The congregation's role in the church was minimized by the priests to protect the "integrity" of the service. (Important: God is not dependent on congregational singing for church growth, as the Church grew during this period.) As Luther championed its reinstitution, congregational participation blossomed during the Reformation. The doctrine of the Priesthood of the Believer resulted in congregants participating in various roles in the worship service. Congregational singing became one of the essential features of the corporate worship service.

Congregational singing that honors God honors Scripture. Methods come and go, but the message of God never changes. Using songs with theologically sound lyrics is imperative in worship that honors God and benefits people. As the crowd engages in singing, the songs of the Church become an indelible part of their lives. Worship leading is an incredible responsibility as an individual's theology is formed by what they remember. When led well, the crowd leaves the church building singing one or more of the songs. Chances are, as good as the spoken sermon is, people will not be humming the points

of the message on their way home from church.

Music can be a compelling storytelling tool in the worship service.

The songs we use to tell the story must be carefully selected and led to connect the congregation with God's message, presence, and mission. Worship that honors God is right in content and deliberate in context: theologically accurate lyrics effectively communicated.

The essential structural elements for the meeting between God and His people are the same today as they were in the Old Testament. God convenes the meeting, each member uses their talents to contribute to the church, the Word of God is taught, the believer renews her commitment to God, and a sacrifice is offered.

Webber states that "the norm of Christian worship is both Word and Sacrament." Biblical Christian congregational worship revolves around retelling the Gospel story and responding to it as a people. Historically, God's people responded to God, in corporate and individual worship, by remembering, anticipating, and celebrating. God's is a story of redemption.

Remembering the saving works of God is a central practice found in both the Old Testament and New Testament corporate worship settings. Singing, praying, giving, taking communion, gathering, symbols, and especially preaching are acts of worship that help the congregation remember God's story of redemption.

God's people gather to remember the promises of God that have been and will be fulfilled. God's Word exhorts, encourages, and equips believers. Music is most effective in a church service as a soundtrack connecting the entire worship experience memorably while delivering content from the head to the heart. In worship, we remember the benefits and the

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duties of being a child of God: We belong to God and His Kingdom. Believers gather to trust and celebrate that God will keep His word and fulfill every one of His promises. Israel had the promised land to anticipate. Christians anticipate the hope of heaven, the new heavens and earth and the Kingdom of God. A natural climax to the act of remembering and anticipating is celebrating. The style in which God is remembered, anticipated, and celebrated corporately varies depending on local culture.

Congregational singing can seamlessly tie these three ancient elements together.

In corporate worship, the substance of response is more important than the style of presentation. I agree with Robert Webber's warning: "We ought not allow worship to be accommodated to current cultural norms to such an extent that worship loses its meaning."

"Such an extent" is the key phrase. The redeeming substance of a congregational song is the lyric—is it theologically true? Music style and presentation is important for the cultural context: it carries the truth of the Gospel, woven into the lyric, into the heart of the sinner for which Christ died. Powerful congregational singing proclaims the truth of the Gospel, to God and each other, through the hearts of the redeemed.

Using lyrics that are aesthetically beautiful, scriptural, inspirationally meaningful, and immediately understandable will increase the participation in congregational singing.

Three creative factors work together to make congregational singing accessible.

First, the worship song's music and lyric are vital to the congregational singing experience. After the songs from the

Bible were written, dating back to the third and fourth centuries, composers like Ambrose of Milan valued congregational singing and wrote explicitly to encourage participation using musically simple songs. Lowell Mason and writers of his day wrote music in a warm devotional style, combining simplicity and dignity.

Ira Sankey's Gospel song introduced emotional terms: The Gospel Song.

Lyrics on screen, hymnal, songbook or by memory. Second, church leadership plays a significant role in the accessibility of

encouraged songwriters to write for the movement. Its folk melodies were easy to sing, and the lyrics matched the culture.

Third, musical direction influences the accessibility of congregational singing.

Arrangements and musical production can encourage or discourage participation.

Tempos, keys, volume, length, accompaniment, and sound reinforcement all play a deciding role in the accessibility of a congregational song. Tempos must support the composition. If the pace is too slow, the congregation will lose interest.

The value of using creativity in the worship service is dependent on authenticity. worship, in song, for the congregation.

The Council of Laodicea halted congregational singing (in the Western Church) for one thousand years. Martin Luther's leadership helped bring the song back to the voices of the congregation. In 1903, the Pope encouraged participation in worship with his Motu Proprio decree.

In 1963, the Second Vatican Council made congregational participation, for Catholics, much more accessible by instituting the Constitution on the Sacred Liturgy. The CSL allowed for the use of local language and music style in the Mass. Every movement of God has a soundtrack. The Jesus People Movement, for example, made congregational singing more accessible because Pastors

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If the pace is too fast, the words can be too difficult to sing and prosody lost.

Congregational songs must be chosen to encourage congregational engagement.

Keys that are too high or low result in less congregational participation.

Novelty (incorporating new songs) is encouraged in Scripture and benefits congregational singing. The Bible mentions singing a new song six times in the Bible (Ps 96:1, 98:1, 144:9, 149:1, Rev. 5:9, 14:3). Singing familiar songs helps congregation participation, and new songs create a fresh element to the experience. Effective new songs are Scripturally true, easy to learn, and hard to forget. Singing too many new songs will diminish vocal participation (because

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2 TIM. 3:16-17

they are learning, not singing). Creativity is essential for Worship leaders and Pastors to select songs for the worship service strategically. Many church leaders believe churches should have a blended approach in worship. Morgan writes, "Sing the best of the newer Christian music without abandoning the heritage of our hymnody or the treasuries of our old hymnals." Williamson adds, "If you are responsible for leading worship in your church, it becomes your job to detect the musical language or languages that most successfully and completely communicate with your people." Creativity is a great asset in discovering the best sound and style for each individual church. Valuing novelty guards the church from the cookie-cutter approach to worship service programming. The value of using creativity in the worship service is dependent on authenticity.

Authenticity is the key to engaging a congregation. Paul describes authenticity in ministry in this verse: "For our boast is this, the testimony of our conscience, that we behaved in the world with simplicity and godly sincerity, not by earthly wisdom but by the grace of God, and supremely so toward you" (2 Cor. 1:12).

Worship leading is not a show. It is personal and authentic faith expressed.

James teaches that true disciples of Jesus Christ do more than talk about their faith. They live it—"But be doers of the word, and not hearers only, deceiving yourselves" (James 1:22).

The Church always suffers when their worship leaders prioritize performance over praise. One of the most famous worship leaders in the Bible, David, is a good example of authenticity: "(God) he raised up David to be their king, of

whom he testified and said, 'I have found in David, the son of Jesse, a man after my heart, who will do all my will" (Acts 13:22). The most critical worship leading is done off the stage.

The purpose of creativity, in the church, is transformation. Singing prayers to God has a significant impact on the soul. A singing congregation ministers to the individuals of the crowd. The most transforming aspect of congregational singing will be memorizing Scripture. The Word of God is transforming. The Bible says, "All Scripture is breathed out by God and profitable for teaching, for reproof, for correction, and training in righteousness that the man of God may be complete, equipped for every good work" (2 Tim. 3:16-17).

Music carries the message of Scripture deep into the memory of the worshipper.

One of the best ways to memorize Scripture is by singing Scripture in songs.

We know Jesus memorized Scripture because He quoted it many times. When Jesus was on the cross, he quoted Psalm 22:1: "My God, my God, why have you forsaken me?" Psalm 22 is a song! Jesus was quoting a song lyric on the cross.

Congregational singing plays a significant role in the formation of the individual's theology. It's essential to teach people transformational songs they can sing on BY

R I C K

M U C H OW WORSHIP LEADER, COACH , DIRECTOR OF INTERN PRACTICUM AT CALIFORNIA BAPTIST UNIVERSITY

their cross.

Music and creativity are not synonyms for Biblical Worship. Biblical worship is expressed by faith before it is expressed by music or creative art. Creativity can be used as a vehicle to express faith, create energy, tell a story, inspire emotion, provide ambiance, teach language, history, mathematics, to entertain, and many more things. Creativity is a powerful communication tool and a universal language. Martin Luther was a true advocate for congregational singing when he wrote: "I beg you to join hands with us and make the attempt to transform a Psalm into a hymn, after the pattern I enclose. I desire, however, that newfangled words, and courtly expressions be omitted in order that the language may be the simplest and most familiar to the people."

Luther understood connecting others to God was a priority in church worship.

Despite the disapproval of traditionalists, Luther's work ignited the use of modern Hymns. Don't let your critics discourage your creative potential. Be faithful with your gifting. Refuse to give up. God gave you your gift to ignite something and to impact the world around you. Lex Orandi, Lex Credendi!! (As we worship, so we believe.)

As the founding Worship Pastor at Saddleback Church, serving alongside Pastor Rick Warren for nearly 25 years, Rick built a worship team.

Rick has coached over 150,000 pastors and church leaders from 60 denominations from over 100 countries. Since Saddleback, Rick is leading worship at different churches and events, serves as the Director of Practicum at California Baptist University, and coaches worship leaders around the world.

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higher learning G U I D E

T

he context of leading worship in a congregational setting is multifaceted and filled with historical and biblical significance.

Beyond that, there are people involved.

People coming from all walks of life with every imaginable concern and distinctive worldview. And worship is where these things are acknowledged yet woven together to create a multi-harmonious sound of sung prayer and worship to the One God who can unite all hearts.

Certainly, leading this beautiful and complex concert of voices requires a skilled artisan. The following pages are here to help you discover your next step in your worship leadership proficiency and theological development. Here you will find some of the top schools available­— an opportunity to make your growth a priority to affect lasting change in your worshipping community.

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46 Baylor University

Waco, Texas 48 Cedarville University

Cedarville, Ohio 50 Colorado Christian University

Denver, Colorado 51 Northpark University

Chicago, Illinois 52 Judson University

Elgin, Illinois 54 Liberty University

Lynchburg, Virginia 56 Trevecca Nazarene University

Nashville, Tennessee 58 The Robert E. Webber

Institute for Worship Studies

Jacksonville, Florida

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LOCATION | WACO, TEXAS

STUDENT POPULATION | 17,000

DENOMINATION | BAPTIST

PROGRAM OVERVIEW

B AY L O R

U N I V E R S I T Y

Baylor’s church music degrees are oriented toward a ministry landscape that is always changing. Although deeply rooted in tradition, Baylor offers an atmosphere of innovation and imagination. Baylor values what you bring to the table and provides opportunities for growth, reflection, and formation. Baylor is not a cookie-cutter environment; it inspires you to discover the minister that God is calling you to be. Here, you can develop world-class skills and a God-sized heart.

Through endowed lecture series, students interact with leading church musicians who are blazing new trails. They engage with high profile worship leaders at the annual Alleluia Conference and Worship Lab in an environment designed to equip and inspire church musicians. Baylor students also work regularly with professors who are leading the way in church music research and practice.

Each year Baylor sends a music and missions team to a different part of the world to share music, lead in worship, teach, and minister in cross-cultural settings. While on campus, students can participate in the many ensembles Baylor has to offer: seven choirs, three wind ensembles, jazz ensembles, the Golden Wave Marching Band, two orchestras, an early music ensemble, and a handbell ensemble, among others.

Outstanding students may receive music scholarships on the basis of their performance ability and the needs of the School of Music. Qualifying students also are awarded automatic academic scholarships based on ACT or SAT scores and class rank.

CENTER FOR CHRISTIAN MUSIC STUDIES

Baylor University’s Center for Christian Music Studies (CCMS) was established in the Baylor School of Music to provide leadership in all aspects of Christian music. As a preeminent Christian music center, we strive to develop and encourage musicians to cultivate their God-given potential through Christian music. CCMS students become part of a supportive community that shares a common passion for worship and music under the training of respected faculty members who work diligently to help students develop their ministry skills and vocational calling.

FOR MORE INFORMATION CONTACT RANDALL BRADLEY 254.710.2360 | RANDALL_BRADLEY@BAYLOR.EDU BAYLOR.EDU/CCMS

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BAY L OR U NIV ER SIT Y SCHOOL OF MUSIC CEN T ER FOR

Christian Music Studies Remembering the past. Imagining the future.

Doctor of Philosophy in Church Music Doctor of Musical Arts in Church Music Master of Music in Church Music Master of Music/Master of Divinity Dual Degree Master of Divinity with Worship Leadership Concentration Bachelor of Music in Church Music Bachelor of Arts in Church Music Minor in Church Music

For more information, visit baylor.edu/ccms

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LOCATION | CEDARVILLE, OHIO

STUDENT POPULATION | 3,400

DEADLINES | ROLLING ENROLLMENT

AUDITION DATES | NOV 8, 2019 FEB 17, 2020 MAR 13, 2020

PROGRAM OVERVIEW

The Bachelor of Arts in worship degree is designed to help prepare students who are interested in careers in worship leadership and related fields. All students must take courses in music, theology, and worship-related fields such as theatre, electronic media, or youth ministry. Elective hours can be used to complete minors or to double major. Students pursuing this major must complete the general education core.

ABOUT CEDARVILLE

OU R

C E DA RV I L L E

VALU E S

U N I V E R S I T Y

The purpose statement of the Worship Program at Cedarville University is “Equipping Worshipers to Serve,” and that informs everything that we do.

1. MUSICAL EMPHASIS

We value a core musical background for all worship students. We value contemporary music as the voice of our culture and will equip students to be musically and methodologically relevant in the "real world." Students study contemporary music theory and will study contemporary music in the private studio.

2. THEOLOGICAL FOUNDATION

We value a strong theological foundation, grounded in biblical truth for all worship students. The Bible minor and required Bible classes in the field of worship will emphasize a biblical foundation for worship ministry.

3. INTERDISCIPLINARY NATURE

We value interdisciplinary study in fields related to worship ministry. We value each student developing God-given talents and interests, resulting in an individualized degree tailored for each student.

FOR MORE INFORMATION, VISIT CEDARVILLE.EDU/WORSHIP PHONE | EMAIL 937.766.7728 | MUSICANDWORSHIP@CEDARVILLE.EDU

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Worship PREPARE TO LEAD

Cedarville University is equipping worship leaders who are both grounded in the truth of Scripture and relevant to the needs of the church and culture they serve.

Interdisciplinary education in music, worship, and theology Low student-teacher ratios

Practical experiences and internships Electives in fields such as electronic media, youth ministry, and missions

Training in contemporary voice, guitar, and piano Cedarville, Ohio | 1-800-CEDARVILLE (233-2784) | cedarville.edu/worship

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LOCATION | DENVER, COLORADO

STUDENT POPULATION | 8,400

WHY ATTEND?

U N I V E R S I T Y

The chief end of man is to glorify God and to enjoy Him forever. Ascribing glory and greatness to God is the work of His people. God not only inhabits our praise, He enjoys our praise. He deserves our praise. It is our responsibility and privilege to offer to Him our sacrifice of praise. At Colorado Christian University we take this responsibility very seriously. Desiring to only offer up in worship that which has been carefully, skillfully, and joyfully prepared. Learning to praise God more fully and deeply, and to encourage His people in that same pursuit is both a lifelong process and passion. The study of worship at CCU is filled with joy and passion and deep desire to draw God’s people into a fuller understanding of who He is, who we are in the light of Him, and to engage fully in His worship.

C H R I S T I A N

PROGRAM OVERVIEW

C O L O R A D O

The School of Music at Colorado Christian University exists to train leaders in music who will have an impact on our culture for Christ through worship, education, theatre, performance, composition, and studio production. Our mission is to exalt the Lord and unite the talents and passions of His people through passionate professional instruction by outstanding faculty who are not only current in the field, but also active. Graduates from our program have careers including digital music editing, international tours and performing, teaching, and worship leading.

STUDYING WORSHIP AT CCU INVOLVES

Practical experience through the worship ensemble and internship program, hands-on training in sound and video production, arranging for worship band, hands-on training with worship related software, developing a deepening understanding of worship and God's worshipping church through the ages, fostering the ability to be a leader in worship, and developing the understanding of the calling and depth of skill and knowledge required to lead others in worship.

FOR MORE INFORMATION, VISIT CCU.EDU/MUSIC

LEAD WITH EXCELLENCE WITH CCU’S WORSHIP ARTS PROGRAM We graduate students of excellence, integrity, and leadership who will make an impact in music and the performing arts to the praise and glory of God. • • • • • • • • •

Bachelor of Arts in Music Bachelor of Arts in Music – Performance Bachelor of Arts in Music – Music Production & Engineering Bachelor of Arts in Music – Composition Bachelor of Music in Music Education, K-12 Licensure Bachelor of Music in Worship Arts Music Minor Theatre Minor Music Theatre Minor

An audition is required for acceptance into all of the above programs, and for scholarship consideration.

For more information or to audition for CCU’s School of Music, visit ccu.edu/music.

Apply today and we will waive the $50 application fee. Use promo code WORLD.

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“Passionately Pursuing Excellence to the Glory of God”

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LOCATION | CHICAGO, ILLINOIS

STUDENT POPULATION | 3,000

DEADLINES | ROLLING ADMISSION NOV & FEB FOR SCHOLARSHIP CONSIDERATION

PA R K

FOR MORE INFORMATION, VISIT NORTHPARK.EDU/MUSIC

N O R T H

North Park University’s Bachelor of Music in Worship degree program is designed to provide students with the skills to be music ministry leaders in today’s Church. The curriculum is practical and broad—offering both core and specialized music courses, opportunities to develop performance skills on a variety of instruments and in voice, training in biblical and theological studies, and experiences with a variety of worship music styles.

Performance opportunities include a wide range of ensembles, Worship Teams, and the Gospel Choir Touring Ensemble, which performs locally, nationally, and abroad.

Students gain practical experience leading worship for University chapel services and in church internships. Faculty are professional musicians who are passionate about their teaching and also serve as worship directors in the Chicago area. With a student to faculty ratio of 12:1, North Park serves approximately 3,000 students in traditional degree offerings as well as certificate programs. The music program supports approximately 70 majors and offers a spectrum of degree programs. Application deadlines are rolling. Music scholarships for both music and non-music majors are available by audition.

Tuition is $30,360/year for 2019-20 and additional financial aid is available.

U N I V E R S I T Y

PROGRAM OVERVIEW

OR CONTACT DR. REBECCA RYAN, DIRECTOR OF OPERATIONS PHONE 773.244.5623 | EMAIL RRYAN@NORTHPARK.EDU

PREPARE TO SERVE

Join a nurturing artistic community in an intentionally Christian atmosphere. Prepare to serve in a variety of worship settings by working with strong faculty in a tight-knit rigorous academic setting.

Undergraduate Auditions: February 15, 2020 February 29, 2020 Graduate Auditions: February 15, 2020 Graduate programs offered in vocal performance and collaborative piano (vocal coaching)

For more information, contact: Erin Matonte Admissions Counselor School of Music, Art, and Theatre 773-244-4583 | ematonte@northpark.edu www.northpark.edu/music VO L . 28, N O. 3 | W O R S H I P L E A D E R .C O M | W O R S H I P L E A D E R

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LOCATION | ELGIN, ILLINOIS

STUDENT POPULATION | 1,200

DEADLINES | ROLLING ADMISSION

AUDITION DATES | NOV 23, FEB 1, & BY APPOINTMENT

WHY ATTEND?

A better question might be, “Why not attend?” Why not attend one of the most beautiful Christian university campuses in the country? Why not attend a school large enough to house all the usual liberal-arts majors (plus a few truly unique degree offerings like architecture) but small enough to allow students to know and be known by their peers? Why not attend a university with easy accessibility to both the excitement of big-city life in Chicago and the calming pastoral presence of small-town rural America? Judson University features something for everybody.

DARK ROOM STUDIOS

J U D S O N

U N I V E R S I T Y

Judson’s Demoss Center for Worship in the Performing Arts (DCWPA) houses Worship Arts, Music Performance, Music Business & Entrepreneurship, and Communication Arts.

Students learn (and a few seem to live) in Dark Room Studios, a state-of-the-art suite of studios available to them in their first semester. The first-ever Dark Room Studio band project was Mass Anthem’s Alive (2014), of which Worship Leader magazine said, “This release stands up to any major label release in regards to theology, musicality, and production.”

Since then, Judson students have cut their studio teeth on projects with ccm artists Citizen Way and worship leader Aaron Niequist (The Eternal Current), among others. Judson students’ original music recorded in Dark Room Studios can be heard on all major streaming services.

AND OPERA, TOO

Another DCWPA distinctive is its partnership with Midwest Opera Theater (MOT), an exciting new company in Chicagoland, whose artistic director, Maria Kanyova, an internationally known soprano, has graced the largest operatic stages in the world. Judson students partner with the MOT both to perform with and experience the inner workings of a major music production company.

CODA

All of Judson’s music and worship offerings utilize the music that surrounded students when they came to a saving knowledge of Jesus Christ, what we call “the soundtrack of your faith.” Judson professors have the privilege to help shape the lives of students so that they can use their God-given talents to shape the world.

FOR MORE INFORMATION CONTACT DR. WARREN ANDERSON 847.628.1570 | WANDERSON@JUDSONU.EDU | JUDSONU.EDU/DCWPA

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LOCATION | LYNCHBURG, VIRGINIA

STUDENT POPULATION | 15,000 ON CAMPUS

DEADLINES | OPEN ENROLLMENT

WHY ATTEND?

U N I V E R S I T Y

The School of Music provides the opportunity for you to explore a variety of music interests, both in and outside of the classroom, with multiple degree options, career preparation, performance opportunities, and student-led organizations.

As one of the top ten largest music schools in the nation, Liberty offers state-of-the-art recording studios equipped with the finest acoustics, advanced technology to publish and produce music, and a unique architecture that encourages soundproof environments.

You will study under skilled faculty members who represent a broad base of spiritual, musical and educational experience. Liberty faculty members have graduate and doctoral degrees from some of the world's most prestigious music programs.

WHAT SETS YOUR TRAINING APART?

L I B E R T Y

The mission of the School of Music is to train and equip musicians to be Champions for Christ!

Liberty University School of Music is a community of God-honoring musicians committed to a culture of worship lifestyle, servant leadership, stylistic diversity, academic inquiry, skillful musicianship, artistic and creative expression, and sharing the Gospel through music.

Today, student musicians­— songwriters, composers, artists, worship leaders, music educators, acoustic and electronic instrumentalists, ethnomusicologists, and performers of all music genres—join together with our prestigious faculty to serve as innovators in the education of future worshiping musicians, like you!

PROGRAMS OFFERED WATC H

V I D E O

Bachelor of Music (B.M.) Degrees include studies in: Worship Leadership, Artist Development, Songwriting, Recording Engineering and Producing and Publishing and Producing or Music in World Cultures.

Bachelor of Science (B.S.) Degrees in Music and Worship include concentrations in: Business, Biblical Studies, Youth Ministry, Women's Ministry, Worship Technology, Cinematic Arts, Theatre, Open Electives or Pastoral Leadership.

Master of Arts (M.A.) degrees include: M.A. in Music and Worship, M.A. in Worship Studies, or the M.A. in Ethnomusicology—(preparing musicians as missionaries).

Doctor of Worship Studies (D.W.S.) is specifically designed to help prepare worship pastors as collegiate level teachers of worship. (All degrees are accredited by the National Association of Schools of Music [NASM] and/or the Southern Association of Colleges and Schools [SACS]).

FOR MORE INFORMATION, VISIT LIBERTY.EDU/MUSIC EMAIL SOM@LIBERTY.EDU | PHONE 434.592.6568 @LIBERTYUMUSIC

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Introducing the

M ICHAEL W. S MITH CENTER for COMMERCIAL MUSIC Training competent, proficient marketplace musicians

Featuring innovative degrees to prepare you for the commercial music industry: B.M. in COMMERCIAL MUSIC:

Artist Development Film Scoring (Film & Media) Jazz Studies Publishing & Producing Recording Engineering & Producing Songwriting M. A . in MUSIC & WORSHIP:

Commercial Music Performance

 Liberty.edu/SchoolofMusic |  SOM@liberty.edu  (434) 592-6568 |   @LibertyUMusic

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G L A N C E

LOCATION | NASHVILLE, TENNESSEE

STUDENT POPULATION | 3,927

APPLICATION DEADLINES | JUNE 1, 2020

AUDITION DATES | NOV 9 AND FEB 1

WHY ATTEND?

T R E V E C C A

N A Z A R E N E

U N I V E R S I T Y

As a Christian university in the heart of Nashville, Tenn.—Music City, U.S.A—Trevecca is an excellent choice for music students who want to be part of a small campus and live in the city that was built on music. In this exciting environment, Trevecca offers multiple programs designed to equip students to fulfill God’s call upon their lives.

Trevecca’s School of Music and Worship Arts offers undergraduate degrees in worship, music education, theory and composition, performance, music business, and commercial music, as well as a master’s in worship and leadership.

Whether you are interested in teaching music, leading worship, working in the music industry or anything in between, Trevecca has a program to help you develop your talents and reach your goal. Trevecca’s liberal arts education will prepare you to influence the world around you, and help you grow intellectually, emotionally, socially, physically, and spiritually. At Trevecca, we are also committed to providing the best education, mentoring, and training possible to those called to serve the church as worship leaders. Our worship programs provide the musical and theological training you will need to be successful in worship ministry.

Trevecca offers music ensembles—vocal groups, worship bands, instrumental groups, including a wind ensemble and a symphony orchestra. We also have traveling PR groups, internships, ministry trips, music showcase events, campus clubs, intramural sports, theater and dramatic productions.

WATC H

FOR MORE INFORMATION, VISIT TREVECCA.EDU OR CALL UNDERGRADUATE | 615-248-1320 GRADUATE | 844-TNU-GRAD

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V I D E O

Coming January 2020: Master's in Worship and Leadership Master of Arts in Worship & Leadership 100% Online trevecca.edu/MWL

Bachelor Degree Options

Associate Degree Options

Worship | Worship and Church Ministry Commercial Music | Music Education Theory and Composition Music Performance

Recording Technology Songwriting | Music

For more information: www.trevecca.edu/music | 615.248.1536 | @TreveccaMusic

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G L A N C E APPLICATION DEADLINES | JUNE SESSION: APRIL 15TH JANUARY SESSION: NOVEMBER 15TH

2020 TUITION | MWS: $393/CREDIT HOUR DWS: $437/CREDIT HOUR

WO R S H I P

S T U D I E S

LOCATION | JACKSONVILLE, FLORIDA

PROGRAM OVERVIEW

W E B B E R

I N S T I T U T E

F O R

The Robert E. Webber Institute for Worship Studies (IWS) is the only accredited school dedicated to the highest quality graduate education in the biblical foundations, theological reflections, historical development, cultural analysis and missional focus of Christian worship.

Church leaders from multiple denominations take academically grounded, highly applicable courses rooted in the biblical narrative, drawing on the rich treasures of Christian history, and committed to glorifying God in multiple cultural contexts.

IWS DISTINCTIVES

R O B E R T

E .

A primary key to reading the entire Biblical narrative is this: God is calling His creation to right worship. Right worship leads to the rightly ordered life, family, Church, community and culture.

Right worship stands at the very core of the Christian faith. IWS has a decidedly Christ-centered, ancient-future theological posture, delivered in a low-residency educational approach focused on building an intentional learning community. Each course has a strong applied emphasis, so students make a direct impact on their ministries.

IWS offers two award-winning graduate degree programs: Master of Worship Studies and Doctor of Worship Studies.

Studying with a superior faculty of distinguished scholars, students come from around the country and across the globe.

The IWS community impacts tens of millions of people each week in Christian worship renewal.

The IWS low-residency educational approach is designed to fit the student’s schedule and budget. The result is an applicable and stimulating education that prepares Christians intellectually and spiritually to participate in the worldwide renewal of the Church through God-honoring worship.

Masters and Doctoral one-week intensive class cohorts start twice each year in the first week of January (November 15 application deadline) or second week of June (April 15 application deadline). Financial aid programs are available. GI Bill and Tuition Assistance benefits are available for qualified military personnel.

FOR MORE INFORMATION, VISIT IWS.EDU EMAIL ADMISSIONS@IWS.EDU PHONE 1.800.282.2977

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Bachelor of Music (B.M.) Degrees include studies in: Worship Leadership‌

Technically Speaking— A

C R I T I C A L

L AT E S T TO O L S

L O O K

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N E E D -T O - K N OW O F

T H E

T R A D E

Kent Morris lends his insight to uncover and evaluate the latest technological products and developments you need to know.

K E N T

M O R R I S

40-year veteran of the AVL arena driven by passion for excellence tempered by the knowledge digital is a temporary state.

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ATEN case study:

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OA K S

B A P T I S T

C H U R C H

ideo projection in mid-size churches has cycled through several generations of equipment and standards over the past two decades. What began with 500 lumen SVGA projectors and small, portable 4:3 screens transitioned to 2000 lumen XGA projectors and retractable screens, and then on to multiple 6000 lumen HDMI projectors shooting onto large 16:10 screens. Each generation has used different connectors, from RCA to BNC to 15-pin headshell to TMDS, each with a different protocol. Since churches tend to keep equipment a long time, it is common to see the tech booth populated with varying cables and products representing years of transition. Tying these disparate pieces together is no easy task. However, one church found a costeffective solution based on some innovative gear from ATEN. ATEN is a forty-year-old firm with product offerings ranging from air traffic control to education to server farms, but they also build high-quality video processing equipment suitable for the local church. The issue facing many churches today is how to implement new video equipment and systems while retaining as much of the existing infrastructure as possible to conserve financial resources. Upgrades are typically segmented in nature, and getting old VGA equipment to function in today’s HD-SDI environment is challenging.

Oaks Baptist Church in Grand Prairie, Texas, faced such a scenario recently and resolved the situation with help from Videotex Systems, a local systems integrator using ATEN equipment.

Uncovering the church’s actual needs required Videotex to spend some time digging into the current situation and then develop a plan to address it cost-effectively. Front-end quality from new computers running ProPresenter and cameras with 4K output meant the throughput to the projectors had to be maintained at that same level. The long runs from the tech booth to the projectors would also necessitate conversion of the signal to HDBaseT to keep the image intact. And, since the remote feeds to the classrooms had stopped working, a new method of getting video to those destinations had to be found.

The heart of the upgrade centered on ATEN’s VM3909H, a nine-input, nine-output matrix switcher with an intuitive interface and some unique features which work well in worship environments.

Accessibly priced video switchers tend to be nonseamless; that is, they blank the screen momentarily when a new input is selected while the switcher configures the signal to function properly. Once set, the image is brought back online. It works, but there is a loss of continuity in the images. Seamless switchers, on the other hand, process the new input’s requirements quickly enough to have the transition occur without a visible glitch. The VM3909H offers Seamless Switch ™ plus a host of other useful features, such as mirrored outputs for all nine inputs.

The advantage here is being able to confirm signal integrity at the input and the ability to send that signal anywhere without consuming a routed output.

Videotex tied a VE805R and VE802R HDBaseT receiver to the VM3909H to deliver the video signal to the projectors in the sanctuary and the displays outside the main room. The VE805R incorporates a built-in scaler to handle anything from a video wall to a hi-res system. Both the VE805R and the VE802R function as range extenders for remote displays and carry the full HDMI signal over a single CAT 5e/6a cable. The VE802R even sports handy POH (Power Over HDMI), so AC is not required for it to function. And bi-directional IR ports mean the entire system can be powered off and on with the press of one button.

With each new generation of displays, the characteristics change and improve. Unfortunately, many switchers and video processors cannot handle these updated resolutions through EDID (Extended Display Identification Data) and tend to lower the image quality if able to display at all. ATEN developed EDID Expert ™ to reach out to each display and find its ideal resolution. EDID Expert takes a pro-active approach and resolves display issues without any input required from the operator.

Videotex was able to use ATEN’s advanced features to deliver a state-of-the-art video solution to the church at an attractive price promptly. Add in ATEN’s web-based GUI interface, and Oaks Baptist Church is ready for whatever the video future holds.

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Sennheiser XSW-D

P R O D U C T

R E V I E W S

W W W. S E N N H E I S E R . C O M / X S W

The contemporary worship center stage often requires guitarists to emulate a myriad of tones to cover everything from Bethel to Chris Tomlin. Thus, pedalboards are practically ubiquitous in a worship leader's arsenal. With new cable products designed to function within the tight constraints of a board, it is now easier than ever to arrange and rearrange the pedals as the gig requires. However, one aspect of the pedalboard connectivity scheme has remained elusive: a compact dedicated wireless plug-and-play system. Sennheiser is now addressing this need with the new XSW-D system, a small, digital 2.4GHz rig with features designed for pedalboard use.

The transmitter is not much longer than the Âź" plug at its front, and the compact receiver snuggles in nicely on any pedalboard. One touch gets the system up and running and allows a 250-foot radius range under ideal conditions. Five hours of battery life will hold out during the longest worship set, and up to

COST

$ 39 9.95

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five systems can operate simultaneously. The receiver boasts a built-in tuner, which frees up a spot on the pedalboard for that elusive original Tube Screamer.

One can recharge the battery via a standard USB-C cable, so no need to panic if one goes missing.

2.4GHz can be a problematic frequency range for wireless, primarily since Wi-Fi, Bluetooth, car alarms, and microwave ovens all operate in the same space. Sennheiser, though, has done their homework and the XSW-D system is reliable enough to use in even crowded environments. Guitarists will appreciate the way the XSW-D handles the sonic characteristics of their instrument, with no artificial tones or strange harmonics coming through the receiver.

If you have been hesitant to go wireless or your current wireless system is complicated and cumbersome, check out the XSW-D at your local music store. You won't be disappointed.

Martin D-X1E Koa W W W. M A R T I N G U I TA R . C O M

COST

Martin Guitars was established in 1833, so they are no newcomer to the game. It is a little surprising, then, how agile the company has been of late, introducing new lines and updating old ones regularly. Instead of just relying on industry stalwarts like the D-28, Martin has unveiled a new series and even new manufacturing processes to remain at the forefront of acoustic guitar design. The D-X1E Koa is one of these latest guitars and is a spin-off of the DXK2AE. The first thing a guitar purist will notice is the term High-Pressure Laminate (HPL) referring to the material used to construct the top, sides, and back of the D-1XE. But before we get to the guitar, let's look at a little wood history.

Wood suitable for acoustic guitars is limited to tree species with desirable musical tonal and structure traits. Spruce, rosewood, mahogany, maple, and koa make up the majority of woods

$ 6 49

used in guitar manufacturing. As the world's supply of old-growth trees has diminished, new sources and materials are required to meet the demand for acoustic instruments. CITES (Convention of International Trade of Endangered Species of flora and fauna) is a restrictive law designed to stop the flow of illegally harvested rare woods. It is a beneficial and helpful act focused primarily on rosewood, but it drove guitar makers to look for new ways to build guitars. Some companies have developed carbon fiber guitars; some have used bamboo, but most have sought alternatives using laminate processes of existing wood. High-end acoustic guitars use solid wood material for the top, and almost all use solids for the back and sides due to the wood's musical properties. Laminate wood can lose tone and response compared to solid wood structures. However, it is inherently stronger and, in the right hands, can be made to sing almost as well as solid wood.

The D-X1E uses real Hawaiian koa wood from Martin's storehouse with a figured koa pattern, so it looks spot-on and plays accordingly. The HPL process delivers a good guitar at an attractive price point. The fingerboard carries the stewardship idea further by replacing rosewood with FSC Richlite, a post-consumer recycled paper-based product.

All the good feeling of saving the Earth would be lost if the D-X1E didn't sound good, but it does. The tone and timbre are excellent, with the included Fishman MX series electronics transferring the sound clearly and accurately. The D-X1E koa comes with a water-resistant gig bag, making it the perfect guitar for touring, youth camps, songwriting retreats, and any other place a good-sounding, reliable acoustic is needed.

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BLUEBIRD SL BY BLUE

www.bluedesigns.com/products/bluebird-sl

GEAR REVIEWS

BY STEVE REED

Stunning clarity and beautiful design at a moderate price point, the Bluebird SL by Blue is an excellent tool to help meet the production needs of modern ministry. Great for recording vocals and acoustic instruments, the Bluebird is not a new product. It's recently returned to our attention after participating in "shoot-out" (cue the wild west music).

In the world of microphones, a "shoot-out" is simply a comparison test where everything is the same except the microphone— same singer, same preamp, same speakers, same treatment— so all you hear are the differences between the microphones themselves. In a room of 20 microphones that ranged from $100 to $2,000, this $299 microphone was our clear favorite.

Mostly for being, well, clear.

Studio and production microphones differ significantly from stage microphones for several reasons. One is ruggedness, as a stage microphone needs to stand up to being handled and potentially dropped, whereas a production microphone stays

G E A R

S T E V E

in one place. The other key difference is that studio

R E E D

MULTI-INSTRUMENTALIST, AUTHOR, SPEAKER, WRITER, PRODUCER WORSHIP TEAM TRAINER

microphones don't have to worry about feedback.

This allows for a much broader and aggressive sound collection than would be advised in most live environments. I say most as bluegrass performances

Steve along with his wife and children comprise the worship group Steve & Shawn. Steve is an avid learner and teacher by nature and his extensive travels as a guest minister, long history of local church service, and experience in the recording industry provides a fresh perspective on how equipment can help resource the church.

tend to have only one microphone in the middle that

Steveandshawn.com musicandministry.co

used this microphone heavily for acoustic guitars

everyone plays around, physically moving forward and backward to be louder and quieter. Not that I play bluegrass music, but in our testing, we did find that this microphone resisted feedback better than any condenser microphone we have used before.

Where this microphone will shine is in the studio, using it on recording projects, voice-over work, and podcasts. While it's possible to make many microphones clearer by the use of EQ and compression, it is so much easier when the signal coming in already sounds the way you want. We and all vocal work from singing to talking and were delighted with the results. We did find, however, that more than others we have used before, it was a bit easier to overload this microphone, which happens when the signal coming into the microphone is too

OVERVIEW PROS

S T U N N I N G LY C L E A R A N D M O D E R AT E LY P R I C E D

CONS

M O R E S U S C E P T I B L E T O OV E R L OA D T H A N OT H E R S

BOT TOM LINE

A V E RY I M P R E S S I V E M I C R O P H O N E F O R T H E M O N E Y

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powerful for it to handle, causing distortion. You can easily fix this problem by merely flipping the "pad switch," allowing you to lower the sensitivity of the microphone slightly to handle those musicians who produce a louder signal.

Though we might be a bit late to the party, the Bluebird SL has quickly become our go-to microphone.

It is certainly worth checking out.

LAMBERTONES GUITAR PICKUPS www.lambertones.com

Electric guitar tone is continuously evolving.

so there is a small queue for build time before they

Yesterday's standard suddenly seems to be outdated,

arrive in a beautiful box. These pickups must be

leaving a lot of people struggling to get the new "it"

installed, which can be done in several ways. The

sound from their old equipment. (Unless, of course,

most common is to take your guitar to a guitar shop

your equipment is so old that it's now back in style

for a professional installation. This service can range

and very cool.) A new effects pedal might get you

in price dramatically, sometimes based on the whim

partially to the sound want. However, the significant

of the repair person, so shop around if you can. If

factors determining an electric guitar's root sound

you want to commit to shipping your guitar to the

are those rectangular boxes, or oval magnetic coils,

state of Washington, Lambertones offers to install

known as "pickups." (So named because it's where the

their pickups for free. I, however, took the road less

sound is "picked up" from the guitar and transferred

traveled and installed them myself. This feat was only

into the cable.) While most guitar players know what

possible due to the very detailed on-line instructions.

a pickup is, many are surprised to learn that they can

The calm assurance from owner Kurtis Lamberton,

drastically alter the sound of their existing guitar by

who even offered to Skype with me if I had problems,

changing them out. This is not only a quality upgrade;

didn't hurt.

you can now purchase pickups that have been voiced to match the tonal characteristics of other guitars.

Right now the "in" sound leans heavily upon the

So armed with a soldering iron, a screwdriver, and courage in my heart, I opened up the inner recesses of my guitar and followed along with the

thin and bright sound of single-coil pickups. But what

instructions. I was surprised to find how simple the

to do if your favorite guitar is loaded with the dark and

job was. Some basic soldering to remove the six

grungy "humbucker" style pickups that dominated the

wires allowed for the screwdriver to do most of the

late 90s to the 2000s? Enter Lambertones, a boutique

work until it was time to make the new connections.

company that is quickly making a name for itself in

All in all, it wasn't too bad and only took an hour, plus

the worship community for its unique and high-

time to restring. The only part that was a little tricky

quality products. Their biggest seller is a "humbucker"

was the height adjustment of the pickups, which has

style pickup that is voiced to sound like a "single-coil."

a lot to do with personal preference, so there really

So rather than putting your old guitar in the case and

isn't a right answer. I didn't get it perfect, but even an

shelling out the money for a new one, you can quickly

educated guess yielded impressive results. When I

get the best of both the old gear and a new sound.

plugged into my amp with a nervous hope that I had

Upon visiting the Lambertones website, you will

gotten it all right, the new sound that came from the

quickly see the many options available to help you

guitar was pretty spectacular.

find the right fit for your guitar.

Video and audio demonstrations are available at

I too had an old guitar sitting around, so I decided

lambertones.com. It's worth checking out.

to give it a try. Each set of pickups are built to order,

OVERVIEW PROS

H I G H - Q UA L I T Y C U S T O M P R O D U C T S F R O M P E O P L E W H O S P E A K T H E L A N G UAG E O F WO R S H I P

CONS

BOT TOM LINE

I N S TA L L I S F O R T H E M O D E R AT E LY H A N DY T O P R O F E S S I O N A L L E V E L T E C H S

A N I N N OVAT I V E A N D R E L AT I V E LY I N E X P E N S I V E WAY T O G E T T H E S O U N D YO U A R E L O O K I N G F O R

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A L B U M S

ALBUM REVIEWS

CODY CARNES

RUN TO THE FATHER (SINGLE) codycarnes.com

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BY CAROLINE LUSK

The opening strains of prolific songwriter and worship leader Cody Carnes’ latest single bring to mind 90s era mega-hit, “Angel” by Sarah Mclachlan. It’s subtle, yet arresting; gentle, yet grounding. It’s a beautiful intro to a song that maintains its sonic integrity from beginning to end.

With a penchant for using unexpected language within a worship context (i.e., “Reckless Love”), Carnes once again flexes his lexicon once more on this simple, yet compelling song. The line, My heart needs a surgeon,” in particular stands out. While not the most singable phrase, it is memorable. It conveys an urgency to the concept of surrender that undergirds the rest of the song. However, for a song that describes a sense of selfrevelation and the need for redemption, the repetitive use of the word “I” borders on excess. For most church-goers or folks familiar with contemporary worship music, the song likely resonates strongly.

It gives a melody to the necessity of self-awareness regarding one’s need for God’s redemption. However, for those not steeped in contemporary worship vernacular, the song falls a bit short when it comes to describing “the Father.” The message is clear and actionable—we are all weak, in need of God, and should turn to Him. However, the “why” gets slightly garbled in translation.

WILLIAM MCDOWELL

THE CRY williammcdowellmusic.com

While it’s been three years since his last release (Sounds of Revival, 2015), the wait was well worth it. The Cry is a triumph, celebratory, energetic, electrifying, but most of all, solid. In contrast to many of his previous projects, this collection is not imploring a distant God to come near. It is a celebration of the many divine ways in which God has revealed Himself to McDowell and his congregation, which grew from 15 members to over 1000 in the last five years.

Recorded live at Redemption to the Nations Church in Chattanooga, TN, the project jubilantly clocks in at over two hours, painting a beautiful, energizing portrait of a God of miracles.

From the driving instrumental “Prelude to Encounter” to the title track and beyond, each song is a declaration— adulation to the God whose work was completed on the cross. One would be hard-pressed to hear these songs without an authentic sense of gratitude.

Consistently, the focus is upward, not inward.

“Give Him Praises” and “Nothing’s Impossible” pull away from the starting gate like a force of nature. The momentum continues from there with powerhouse vocal appearances from heavyweights such as Yolanda Adams, Tasha Cobbs Leonard, Travis Greene, Aaron Lindsey, Nathaniel Basseyand David & Nicole Binion. While each vocalist commands the songs, their presence is never distracting. They merely enhance a powerful experience that is much more than music. It is an encounter.

Perhaps most notable about this album is its universal appeal. At once, it captures the best of a gospel sound deeply rooted in soul and spirit, wrapped in contemporary phrasing and melodic trajectory. Additionally, in songs like “Even Now,” “Deep Places,” and “Touch

the Hem” the accessibility of the arrangements beautifully complements lyrics that exalt a Sovereign King amidst human frailty. While the entirety of the album is a celebration of what God has done, it doesn’t try to then paint the rest of the human experience as something beautiful or easy.

Therein lies the mastery of the art of worship very few have attained like McDowell. He doesn’t try to convince the congregation, or even himself, that the presence of our great, perfect God means that life is therefore perfect as well. He allows room for the leaders, the congregation, and the listeners to find themselves in the overarching narrative of grace. His exquisite restraint is perhaps no more beautifully apparent than on the track, “Loss for Words.”

Trinity Anderson and Queenija Morris deliver achingly beautiful vocals, but the magic in the song is the space. The long periods in which there are no lyrics remove anything that could stand between Christ and us.

The song seamlessly transitions into the simple, but impactful, “Nothing Like Your Presence.” The tempo, the lyric, and cadence of the song guide the listener from their knees to the Throne Room, where the listener is then gifted with the aptly titled, “I Don’t Wanna Leave.” The gorgeous anthem feels like a homecoming—the kind that you hope will last forever.

This project is a masterpiece—a special addition to the contemporary worship hymnal, and the hearts of all who hear. McDowell has crafted an experience that could bring the most diverse peoples together while simultaneously removing everything that could stand between the listener and the Heavenly Father. It’s a triumph and blessing from beginning to end.

TOP SONGS

“NOTHING LIKE YOUR PRESENCE” AND "LOSS FOR WORDS"

STRONGEST BIBLICAL CONTENT

“TOUCH THE HEM"

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SANCTUS REAL

UNSTOPPABLE GOD

A L B U M S

sanctusreal.com

N E W

It’s hard to comprehend that Sanctus Real has been at this for 23 years. Over that time, they’ve blessed the Church with innovative musicality, poignant lyrics, and unwavering faith amid life’s storms. Their latest studio offering, Unstoppable God, continues that legacy, but in a fresh, exciting, and engaging way.

Unstoppable God marks the second album with front-man Dustin Lolli, who stepped in when Matt Hammit left the group in 2015. The distinction in vocal style between Hammit and Lolli is significant, with the latter wrapping his robust timbre around songs that, while not ground-breaking in lyrical content, are brimming with truth about the nature of God. “Jesus Loves You” is a prime example of taking familiar phrases and rearranging them, stylizing them in a way that feels anything but tired.

“I Will Forgive You” is stunningly simple and incredibly effective. It also allows Lolli to flex his impressive vocal range, which elevates the song

exponentially. It’s not easy to deliver those four words over and over without sounding mechanical or boring the listener. Lolli has the chops to infuse intentionality and subtle variations, imploring the rest of us to rethink our understanding of forgiveness and grace.

Though not a misstep necessarily, the project does make a distinct redirect of the intended audience on songs like “As I Am,” “Confidence,” and “Lazarus.” Each incorporates stories and biblical characters those beyond the church walls may not be able to identify with, or possibly identify at all.

Overall, however, it appears that this incarnation of Sanctus Real has indeed come into its own. The album is solid. Their sound is fresh. Most of all, the message is crystal clear— nothing can ever deter our unstoppable God.

TOP SONGS

“I WILL FORGIVE YOU” AND "JESUS LOVES YOU"

STRONGEST BIBLICAL CONTENT

“LAZARUS" AND "CONFIDENCE"

M U S I C

F O R

YO U R

C H U R C H

DOWNLOAD THE LATEST MUSIC AT SONGDISCOVERY.COM

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BIG DADDY WEAVE

WHEN THE LIGHT COMES cornerroommusic.com TOP SONGS

"I KNOW"

STRONGEST BIBLICAL CONTENT

"YOUR LOVE CHANGES EVERYTHING"

For nearly 20 years, Big Daddy Weave has given hope, assurance, and inspiration to countless people around the world. Their distinct sound has left indelible impressions upon the hearts of believers through songs like “Redeemed,” “Overwhelmed,” and “Love Come to Life,” among many others.

On this, their ninth studio project, the band once again delivers the hopefilled anthems and worship songs many have come to expect. This time around, however, there is a distinct undercurrent that shapes this album a bit differently than the previous eight. This time, the members of Big Daddy Weave not only crafted the songs; they needed the hope and redemption of which they sang more desperately than ever before.

Given that they created the album during a season of pain, actively processing sorrow, grief, and loss, the songs take on dimensions that are entirely their own. There is a depth to

this album that can’t be manufactured in a studio; it must be acquired over time— from love and loss.

Sonically, the album isn’t much of a departure from the Big Daddy Weave sound we’ve come to know and love. What does set this project apart, however, is the context in which it was created and delivered. In particular, the song “I Know” resonates with a quiet confidence in the sovereignty of a God we don’t always understand.

Big Daddy Weave has always had a ministry unlike many other groups. With this project, however, they step off the stage and crawl into the depths of life right beside the listener. Their brokenness seeps through the music just like water through a wooden floor. It saturates the entire listening experience. Through lyric and song, Big Daddy Weave validates our pain, admits their questions and doubts, and invites us, song by song, to keep trusting anyway.

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JOB BOARD

Lead Pastor

Homer, AK

FULL TIME

Christian Community Church Making Disciples who Make Disciples

Office Manager MO PART TIME St. Luke Church To know Him, and to make Him known

J O B

L I S T I N G S

Worship Arts Pastor

Strasburg, CO

FULL TIME

Prairieville, LA

PART TIME

Cedarville, OH

FULL TIME

Van Buren, AR

FULL TIME

Anywhere

PART TIME

Atlanta, GA

FULL TIME

Mountain View Fellowship Pointing People to Jesus by Fostering Relationships

Worship Leader NEWSONG on Old Perkins Rd. Engage with God, one another, and the World

Assistant Professor of Worship Cedarville University

Worship Pastor First Baptist Van Buren, AR

Interim Worship Leader Bethel Encino

Contemporary Worship and Community Leader Roswell Presbyterian Church

The Worship Leader Job Board is a service of Worship Leader magazine. To view more job listings, visit www.jobs.worshipleader.com

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MORE JOB LISTINGS

EXPAND YOU R

TE AM

From Admin to your Worship Team, post your job openings on the

JOB BOARD

WO RS H I PLE AD E R .CO M VO L . 28, N O. 3 | W O R S H I P L E A D E R .C O M | W O R S H I P L E A D E R

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