In many ways, the worship wars of the 1980’s, 1990’s, and 2000’s were like a marital conflict. The conflict grew so intense, and dragged on for so long, that reconciliation no longer seemed possible. Eventually, hearts were hardened towards one another, and what was once just separation was finally codified in divorce.
Different services, at different times, in different venues, with different musical styles, as a way to appease and appeal to different segments of the congregation, avoiding any one particular side having to lose the kind of style they preferred. In many churches across the globe, a cease fire was cemented into this kind of musical divorce.
And yet the partners didn’t move into different houses. They stayed under one roof and lived at the same address, but came and went at different times, spent time in different rooms, avoided each other as much as possible, and learned how to tolerate each other at Christmas and Easter. Family members had to choose sides, assets had to be divided up, and what was once a loving home was now a tinderbox of awkward dynamics.
This is a picture of churches whose musical conflict turned into musical separation and was codified by a kind of musical divorce. On the surface, conflict was resolved. Below the surface, conflict continued. But this time, the conflict was covered up and ignored. Churches believed that this would bring peace to its members and position them to reach different people with different preferences. And those pragmatic aims may very well have been achieved at some measurable level. People weren’t as angry anymore, and the traditional and contemporary services were free to attract their own constituencies.
But church-sanctioned musical divorce sends three dangerous messages to its own congregation. Read More
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