Brehm Center

The world of worship ministry has been in constant change over the past several decades. While this has resulted in expanded opportunities for worship creativity, it also presents elements and styles subject to criticism from congregations of worshippers. In recent years, the rise of the emerging church has precipitated a new set of needs, issues, and terminology pertinent to worship ministers and congregants alike. Some issues are easily understood, others are developing, and still others need focus and clarity. A good place to start is by giving thoughtful attention to the word convergence.

Terminology pertaining to worship styles and philosophies is not always universally agreed upon. Though widely used, convergent is a term without common definition. Posing a question regarding convergence to those in or out of ministry, of varying ages, is to get differing responses. To start, some general definition is helpful.

Converge can mean to come together from different directions.¹Consider the coming together of two or more disparate disciplines or technologies. For example, the so-called fax revolution was produced by a �convergence� of telecommunications technology, optical scanning technology, and printing technology.

Converge can also mean �come together so as to form a single product.²In graphics, convergence refers to how sharply an individual color pixel on a monitor appears. Each pixel is composed of three dots�red, blue, and green. If the dots are �misconverged,� the pixel will appear blurry, while true convergence of the dots results in clarity.

In the context of corporate worship, convergence requires more than general definition, however. For example, convergent and blended are sometimes synonymous and other times dissimilar. Of the latter persuasion, Chris Alford proposes that �blended worship� as a label be abandoned entirely, arguing that blended worship is a modern tool to solve a modern problem, while convergent worship is a new, postmodern creation³ formulating a relevant worship mode for the emerging church. 

Bobby Brewer, guidance pastor for Flood the Desert, an emergent congregation in Scottsdale, Arizona, defines convergence this way: Think of the new '05 Mustang . . . a reach back into the past to a classic, but . . . here�s our version of it.� Carrying the car analogy a little further, perhaps that is how we also got the PT Cruiser a newly created vehicle with no historical precedent, but with reference to cars from the past, such as faux wood grain on the side.

By using diverse resources and employing convergent techniques and philosophies, newly created elements are designed for corporate worship. If �blended� is mixing traditional and modern elements, then �convergent� is taking the traditional and modern and making a wholly new creation.

For the purposes of this discussion, convergence will be defined in three ways: the practice of bringing forms and styles common from times past into the present; creating works in the present that emulate forms and styles from the past; and/or merging diverse elements, whether past or present, into new elements for use in corporate worship.

Practical Implications of Convergence

Understanding definitions is helpful, but what does convergence actually look and sound like? An ad for the band Evensong Rising, gives an example of what is meant by convergent: An unexpected mix of ancient liturgy and progressive music that tonally spans from ethereal violin to rock guitar. That�s convergent! Such techniques may appear new and perhaps complicated, but Ecclesiastes reminds us that there is nothing new under heaven. In fact, convergence is a technique known to musical artists of every era influenced by the past or by other cultures, who create new works by adding new technology and employing other convergent techniques.

The term convergence is, however, a relatively recent label applied to worship ministry. Though the focus of this article will be to examine its pertinence to music in particular, application should not be limited to the emerging church context, nor simply to music. In corporate worship, many other elements of the service may be convergent in nature, such as the use of ancient prayers, visible symbols, ethnic influences, and liturgical forms, to name a few.

Examples of Convergence in Worship Music

The first form of musical convergence involves taking the music of another era and rearranging it into a modern and present form. When we sing "O Come, O Come Emmanuel" during Advent, we converge a twelfth-century text and a thirteenth-century chant. Add the technology sounds of musical group Mannheim Steamroller, for example, and the result is VeniVeni,⁴a popularized version of the same melody. In a related manner, modern worship leader/artist David Crowder�who regularly uses convergent techniques�rearranged the classic gospel song of John W. Peterson, "Heaven Came Down and Glory Filled My Soul^"5using a melody from English composer Ralph Vaughan Williams.⁶ 

Some years ago, classical musicians were highly critical when organist Virgil Fox gave J.S. Bach�s �Komm, S�sser Tod� (�Come, Sweetest Death�)⁷a highly romanticized arrangement. Though neither Fox nor the organ would be associated with emergence, the convergent principle

functioned effectively in a traditional context. 

A second convergent technique is creating music in the present that emulates a style of the past. Using a modal scale pattern to compose a modern, orchestral work, Dorian Hymn was born.⁸Add some techno sounds to the hymn and yet another form of convergence takes place.9 Recent hymns of Irish composer Keith Getty are new songs using the strophic technique common in times past.¹⁰ Similarly, producer/artist Billy Smiley has created a series of modern hymns called worship hymns, which are old hymns with a new music mix.¹¹ Perhaps a new category of worship music has been created the praise and worship hymn� Beyond that, some worshipping communities are even reviving the somewhat mystical art of chant, as well as creating new chants. These chants may replicate European church music of centuries past, but may also include ethnic chants from other cultures.¹²

Third, as our world becomes smaller with the aid of travel convenience and technology, converging a diverse mixture of cultural elements has become effective in drawing worshippers around the world into a united voice, as well as influencing new forms of ministry. Drum loops, African drums, techno sounds, Latin rhythms, and other ethnic influences have become more common in convergent worship experiences. Modern technology has made it possible to digitally produce these diverse sounds in your living room or in worship services anywhere.¹³As a further example, the original recording of the widely used Keith Getty/Stuart Townendsong, �In Christ Alone, employs Irish instruments�penny whistle and drums�that add a regal, majestic, ethnic feel to the modern, moving hymn.¹⁴In addition, ethnomusicology and other cultural studies are combining to meld an understanding of remote cultures with Western ministry practices, helping to spread the gospel using culturally familiar music.

While all these examples may not fit the stereotypical, emerging church definition of convergent worship, they do fit our definition bringing things from the past into the present, utilizing elements from the past and pulling in elements from current technology and other cultures to create new forms of music for use in worship.

Advantages of Convergent Methods in Worship

Convergence respects the faith and music of past generations. One of the benefits of convergent philosophy is the investigation into and appreciation of musical expressions used by the fathers and mothers of our faith.

Experienced athletes have been known to chide younger players who are ignorant of the sacrifices their predecessors have made for the team, focusing instead on whatever serves them as individuals, and failing to respect the game. So it can be with worship leaders. Some are unaware of the wealth of music that prior generations have used to draw hearts to God. Still other leaders consider any old musical material lacking in value for addressing God in the present. Some seem to prefer an unspoken list of well-known worship leaders, using their songs almost exclusively. The caption of a cartoon quotes a worship leader saying, We're going to sing a good ol song written back in 1998! This, unfortunately, reflects the sometimes prideful attitude of current worship leaders without a respectful historic perspective. This limits the ability to bring very useful material from the past into the present, and may evidence some leaders lack of desire to study, excavate, listen to, and discover the valuable musical resources that can impact worship settings. Leaders who desire to utilize forms of convergent music should be students of music from past eras. They should examine old hymnals, listen to music for all ages, create new material in the style of the old and be acquainted with music of other cultures. Leaders who are respecters of the game will be effective in creating modern expressions of worship which gather worshippers into a united sound.

Convergence provides a built-in opportunity for cross-generational worship leader respect and unity. The purpose of corporate worship is to provide unity for the church at large as well as for the local worshipping community. An established worship leader can welcome this renewed appreciation of past traditions and worship elements, and with hope, convergence will create respect and interest for what the next generation of worship leaders is expressing. A younger worship leader ought to receive a new appreciation of older, more experienced worship leaders and their understanding of a wide variety of worship experiences.

With this in mind, dramatic statements can be made by worship leadership in churches and beyond. First of all, worship leaders of differing approaches could, because of convergent philosophy, talk to each other and even lead worship together, making a positive statement to congregations about focusing on God rather than style. A second unifying gesture would be for younger worship leaders to seek older, experienced leaders for mentorship. What a great investment it would be for experienced worship leaders to seek out and offer to mentor younger leaders. Third, creative worship leaders of all generations could work together to develop convergent worship elements. Great relationships, enhanced resources, and inspiring worship elements would emerge from such efforts.

Cautions for the Use of Convergent Methods

Along with considering the use of convergent techniques in worship planning, we must be aware of the potential for losing our proper Godward focus. Here are three cautionary thoughts to keep in mind.

Convergence does not necessarily equal worship. If we agree that worship is an offering presented to God with total focus on God�s attributes and work in our lives, then we may find that some musically convergent elements may not be focused in the proper direction. If too much emphasis is placed on being convergent, there is a danger of choosing elements for a worship service which are not based on worship, but are chosen for the sake of being convergent.

Convergence does not necessarily equal effective worship. There are many worship forms used in the world, with innumerable styles of music included in those forms. Many of those worship forms are effective in uniting God�s people, and there may or may not be convergent elements included. We must take care not to equate convergence with coming before God effectively.

Another potential issue is whether or not the service is intended to be friendly for congregational participation. Some of these convergent works of music make for great art, but are confusing if the congregation is expected to participate. While the works may be effective for worship in the listening sense, care should be taken not to have unrealistic expectations of the congregation�s participation in them.

Convergence must not become a point of pride. There can be a tendency to become so wrapped up in worship style preferences that we become worshippers of worship. If we find ourselves saying or thinking, Wasn't that convergent thing great� then perhaps we would do well to look at our motives, examining the goal and focus of our worship. Also, we must make sure the focus is on God, so that we do not become prideful over any of the individual parts.

The question arises, is convergence necessary or desirable for effective worship to occur? An attribute of convergence in keeping with our definition is that the techniques can be used in traditional or modern settings, small churches or large, free church or liturgical, and multigenerational as well as generation-specific churches. Leaders whose desire is to be broad-based and creative should be open to convergent music at some level. To have no interest in a creative form that may enable God�s people to praise and worship him would be to limit the ways in which we allow God to work.

At the same time, the use of musical convergent techniques does not necessarily equate with effective worship. Convergence is not a mandate, only a viable option. Many successful approaches to worship music do not include convergent methods and have proven to be effective in guiding people to worship God.

The Future of Convergence

Where is convergence taking us in the future of the world of worship ministry? Though there does not seem to be a universal definition for the term, convergence has occurred for centuries, and, thanks to emphasis from the rise of emergent congregations, is likely to continue to receive significant attention in the foreseeable future.

We have also observed that convergence can be an effective tool for use in worship, whether or not in the emerging church context. Additionally, convergence honors the faith and the creative contributions of those from the past. It brings past elements into the present and, as a result, makes a contribution to newly formed worship elements.

Further, we have identified potential hazards to the improper use of worship elements, whether they are convergent or not. If those pitfalls can be avoided, then worship leaders ought to converge to their hearts� content. Most of all we must be prayerful, conscientious students of the faith expressions of all ages, striving to increase the creativity with which we take up the awesome and holy role of leading others into the presence of God.

A Prayer for Convergence

Gracious Father, we are grateful for the many expressions of faith in ages past. We equally praise you for the myriad of newly formed manners of faithful expression in our time. We thank you for those who have the creative gifts and knowledge that allow for bringing the past and present together in effective ways. May we not be wrongfully focused on techniques or become prideful of our human abilities to contrive or manipulate. Rather, give us your inspiration to take all that you have given us, and in turn meld those items together in new and worthy expressions of our ever-growing faith in you.

In Jesus� name,

Amen, and Selah.

ENDNOTES

1.   The Free Dictionary, www.thefreedictionary.com

2.   WordWeb, www.wordwebonoline.com

3.   Chris Alford, available at www.chris-alford.com/go.pwdg/specials (website updated 2006).

4.   Mannheim Steamroller, �VeniVeni,� from Mannheim Steamroller Christmas Celebration (album), track 4 (American Gramaphone, 1990); www.mannheimsteamroller.com

5.   David Crowder Band, �Heaven Came Down,� from Illuminate (album), track 14 (Sixstepsrecords, 2003); www.davidcrowderband.com/ or www.sixstepsrecords.com

6.   David Crowder Band, �Our Happy Home� and �A Conversation,� from A Collision (album), tracks 16, 20 (Sixstepsrecords: 2005); www.davidcrowderband.com/ or www.sixstepsrecords.com

7.   Virgil Fox, �Come, Sweetest Death,� from Virgil Fox Plays The John Wannamaker Organ�Philadelphia (album), track 3 (Command Classics, 1964); www.virgilfoxlegacy.com

8.   Edwin M. Willmington, �Dorian Hymn,� from Gift from the Heart (album), track 12 (Shepherd�s Staff Worship Music/ASCAP, 2002); www.shepherdsstaffmusic.com

9.   Edwin M. Willmington, arranged by Sean Johnson; �Dorian Hymn (remix),� from Luminosity3 (album), track 5 (O.O.M. Music, 2001)

10.  Several examples may be found at Getty Musicwebsite (copyright 2005) www.gettydirect.com/hymns.asp

11.  Several examples may be found at Worship Hymns website (copyright 2005�2006 Mission Music Group) www.worshiphymns.com

12.  Edwin M. Willmington, �Holy, Holy, Holy,� from Gift from the Heart, track 21.

13.  Steve Hickok, arranged by Edwin M. Willmington, �Ribbon of Grace,� from Gift from the Heart, track 5.

14.  �In Christ Alone�  (copyright 2001 Thank you Music) may be found at Kingsway Songs website, www.kingswaysongs.com

Theology, News & Notes (ISSN 1529-899X) is published for the alumni/ae and friends of Fuller Theological Seminary. It is published three times a year, in winter, spring, and fall.

The editorial content of Theology, News & Notes reflects the opinions of the various authors and should not be interpreted as necessarily representing the views of Fuller Theological Seminary.

�2006 by Fuller Theological Seminary. Produced in limited quantities for alumni/ae and friends.

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