Reading the Bible Anew: Part Three What Is It About Music?
From the Restoration Split to Churches of Christ Today
Includes the Top Songs Sung on Easter in All Churches
As some urban congregations (especially post-Civil War) introduced instruments, rural congregations doubled down on a cappella worship as a mark of New Testament authority. This culminated in the official division (1906) recognized by the U.S. Census between Churches of Christ (non-instrumental) and Christian Churches (Disciples of Christ, often instrumental). Rural leaders and congregations often saw urban trends as compromising biblical fidelity for cultural prestige or convenience. Debates over what was “scripturally sound” music led to competing hymnals and publishing houses—Firm Foundation, Gospel Advocate, etc. Some of the leading figures during this period were: 1) David Lipscomb- Advocated for strict scriptural fidelity, resisting innovations including instrumental music. 2) James A. Harding- Emphasized singing schools and a cappella worship as biblical and educational -3) R. H. Boll: Promoted gospel songs and millennial themes—controversial to more conservative elements. (For detailed history of the split of the Restoration Churches see this Reference: https://webfiles.acu.edu/departments/Library/HR/restmov_nov11/www.mun.ca/rels/restmov/index.html )
1. Transition from Shaped Notes to Round Notes
Shaped-note notation, a staple in 19th and early 20th-century hymnals such as The Christian Hymn Book and Christian Hymns No. 1 and 2, was commonly used in Churches of Christ to teach congregational singing. I was brought up using this as did the singing schools I attended in the 1950’s. The shift toward round-note notation began during the 1950s and 60s, becoming the dominant format by the 1980s. This change aligned with trends in broader music education and publishing norms. Hymnals like Songs of the Church (1971) retained shaped notes, while later publications such as Songs of Faith and Praise (1994) offered round notes or optional formats.
2. Emergence of Praise Teams
I grew up with a single male song leader to direct congregational singing—the traditional approach. I still prefer this method. Starting in the 1990s and gaining traction in the 2000s, some congregations introduced praise teams—small, miked vocal groups that lead singing collectively. This model was influenced by the contemporary worship movement. Some preferred the richer soundscapes compared to unmiked congregational singing . Prominent examples include Otter Creek Church in Nashville, TN, and Highland Church in Abilene, TX.
3. Adoption of Dual Services: A Cappella and Instrumental
To address varying preferences within congregations, especially in urban and suburban settings, some Churches of Christ implemented two distinct worship services. One remains traditional and a cappella, while the other incorporates instrumental music. This approach emerged in the late 1990s and gained prominence after 2005. A notable example is Richland Hills Church of Christ (now The Hills Church) near Fort Worth, TX, which introduced instrumental worship services in 2006. This was not done without controversy—with many congregations “splitting” instead adopting two services. It is not the purpose of this essay to debate this issue ( See Part One of scriptural citations of music in the church).
4. Dominance of Praise Songs Over Traditional Hymns
The 1980s and 90s saw a growing preference for contemporary praise songs particularly in urban areas. It was influenced by the rise of Contemporary Christian Music (CCM). These songs, often characterized by emotional expression and repetition, became integrated into worship, particularly among younger members. Hymnals like Songs of Faith and Praise marked a transition by blending traditional hymns with newer praise choruses from artists such as Michael W. Smith and Chris Tomlin.
5. Projected Lyrics Without Musical Notation
With the adoption of digital projection technologies in the early 2000s, many congregations began displaying lyrics without musical notation. This trend reflects a broader decline in music reading skills among the general population and a move away from printed hymnals. Churches using praise teams and contemporary formats, such as The Hills Church and Otter Creek, commonly project lyrics only.
One result of all of these trends is an increasing ignorance of music theory as the following chart demonstrates.
Easter Sunday Musical Selections:
This coming Sunday is the Day most Christian churches celebrate Easter. A quick Internet search returns the following for four faith groups from Catholic to the Church of Christ. Note: Sources were checked for reliability.
1. Catholic Church
• Top Easter Hymn:
“Jesus Christ Is Risen Today” (Lyra Davidica, 1708)
o Often the processional hymn on Easter morning.
o Richly symbolic, liturgically approved, and universally recognized.
• Other Common Selections:
o “Regina Caeli” (Gregorian chant, sung in place of the Angelus during Easter season)
o “Alleluia, Alleluia, Let the Holy Anthem Rise”
o “This Is the Feast of Victory” (Lutheran-origin, but widely used)
Music Style: Traditional hymns, Gregorian chant, and some post-Vatican II contemporary settings depending on the parish.
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2. Presbyterian Church (PCUSA and similar Mainline)
• Top Easter Hymn:
“Christ the Lord Is Risen Today” (Charles Wesley, 1739)
o Prominently featured across Reformed worship services.
• Other Common Selections:
o “The Day of Resurrection” (John of Damascus)
o “Thine Be the Glory” (Handel’s Judas Maccabeus)
o “Lift High the Cross” (often as a processional or recession)
3. Southern Baptist Church
• Top Easter Song:
“Because He Lives” (Bill & Gloria Gaither, 1971)
o A Southern Gospel favorite that resonates deeply with evangelical theology.
• Other Common Selections:
o “He Lives (I Serve a Risen Savior)”
o “Glorious Day (Living He Loved Me)” (Contemporary by Casting Crowns)
o “In Christ Alone” (Modern hymn by Keith Getty & Stuart Townend) Music Style: Mix of hymns and praise choruses, depending on the worship team and service format (traditional or contemporary)
4. Restoration Branch of the Church of Christ (Non-instrumental, A cappella)
• Top Easter Hymn:
“Christ the Lord Is Risen Today” (Charles Wesley)
o Sung a cappella, it’s the most enduring Easter hymn across Churches of Christ.
• Other Common Selections:
o “Low in the Grave He Lay” (Robert Lowry)
o “He Lives” (also widely known as “I Serve a Risen Savior”)
o “Worthy Is the Lamb” (Traditional or adapted arrangement) Music Style: Strictly a cappella, emphasizing congregational four-part harmony.
The purpose of this series of Reading The Bible Anew on Singing is twofold: 1) To examine what the bible actually says about singing and 2) To relate the historical trends that leads us to singing in the churches today. Part One examined the question “What Is it About Music” with an examination of what the New Testament has to say. Part Two starts the journey on “How Did We Get to Our Present Music.” Part Three takes us to today in the Church of Christ branch of the Restoration Movement.
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References
• Eskew, Harry, and Hugh T. McElrath. Sing with Understanding: An Introduction to Christian Hymnology. Broadman Press, 1980.
• Ferguson, Everett. The Church of Christ: A Biblical Ecclesiology for Today. Eerdmans, 1996.
• Ferguson, Everett. A Cappella Music in the Public Worship of the Church. 2nd ed., 1999.
• Foster, Douglas A. The Story of Churches of Christ. ACU Press, 2013.
• Hicks, John Mark. “Richland Hills and Instrumental Worship.” johnmarkhicks.com, 2006.
• Hicks, John Mark, and Greg McKinzie. Worshiping with the Church Fathers. Leafwood Publishers, 2010.
• Ross, Allen P. Reclaiming the Assembly: The Emerging Liturgical Renewal in Churches of Christ. Pepperdine Bible Lectures, 2009.
• Ruth, Lester. Flow: The Ancient Way to Do Contemporary Worship. Abingdon Press, 2020.
• Westermeyer, Paul. Te Deum: The Church and Music. Fortress Press, 1998.
Thank you so much for this series. It is fascinating to me. Pam and I attended several different churches while in Chicago including Disciples of Christ and two “combined” churches. One Church of Christ + Methodist + PCUSA and another Church of Christ + American Baptist. None of these were a cappella. The D of C had a female assistant pastor who danced her sermons. Alas, I do not speak dance so I may have missed some of the subtlety in her messages.
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