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Copyright © 2016 Matthew David Westerholm All Rights Reserved. The Copyright © 2016 Matthew David Westerholm All rights reserved. The Southern Baptist Theological Seminary has permission to reproduce and disseminate this document in any form by any means for purposes chosen by the Seminary, including, without limitation, preservation or instruction. “THE HOUR IS COMING AND IS NOW HERE”: THE DOCTRINE OF INAUGURATED ESCHATOLOGY IN CONTEMPORARY EVANGELICAL WORSHIP MUSIC __________________ A Dissertation Presented to the Faculty of The Southern Baptist Theological Seminary __________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________________ by Matthew David Westerholm May 2016 APPROVAL SHEET “THE HOUR IS COMING AND IS NOW HERE”: THE DOCTRINE OF INAUGURATED ESCHATOLOGY IN CONTEMPORARY EVANGELICAL WORSHIP MUSIC Matthew David Westerholm Read and Approved by: __________________________________________ Esther R. Crookshank (Chair) __________________________________________ Mark T. Coppenger __________________________________________ Joseph R. Crider Date ______________________________ I dedicate this dissertation to my family: my parents, John and Linda; my brother, Josh, and his family; and my wife, Lisa, with our three boys: Ethan, Owen, and Levi. Thank you for showing me (the beginnings of) what the kingdom of God looks like. TABLE OF CONTENTS Page LIST OF ABBREVIATIONS . vi PREFACE . vii Chapter 1. INTRODUCTION . 1 Thesis . 2 Primary Sources and Methodology . 4 Scope and Delimitations . 12 Overview . 19 2. CONGREGATIONAL SINGING AND THE FORMATION OF CHRISTIAN FAITH . 22 Worship as Entrance . 24 God’s Presence as Goal and Means of Christian Transformation . 28 Liturgies Form the Christian Imagination . 37 Contemporary Worship Music Shapes Evangelical Views of the Eschaton/Utopia . 46 How Congregational Singing “Counts” as Entering the Divine Presence . 52 Conclusion . 68 3. INAUGURATED ESCHATOLOGY: AN EVANGELICAL CONSENSUS . 71 Historical Background . 73 Surveying the Biblical Data . 80 Descriptors for Inaugurated Eschatology . 88 Conclusion . 97 iv Chapter Page 4. EXPRESSIONS OF INAUGURATED ESCHATOLOGY IN SELECT HISTORIC AMERICAN PROTESTANT CONGREGATIONAL HYMNS AND SONGS . 100 Historic American Hymnody, Eighteenth and Nineteenth Centuries . 102 Historic American Hymnody, The Twentieth Century . 114 Conclusion . 122 5. SURVEYING THE LANGUAGE OF INAUGURATED ESCHATOLOGY IN CONTEMPORARY WORSHIP MUSIC . 123 The “Already” of Contemporary Worship Music . 123 The “Not Yet” of Contemporary Worship Music . 139 The CWM Portrayal of the Emotional Life of Believers . 147 The CWM Portrayal of Spatiality . 161 The CWM Portrayal of Chronology . 166 Conclusion . 170 6. A PROPOSAL FOR ESCHATOLOGICALLY INFORMED CORPORATE WORSHIP SERVICES . 171 Dangers of an Improperly Formed Eschatology . 171 Application . 181 Conclusion . 200 7. CONCLUSIONS . 201 Chapter Summaries . 201 Implications of the Study . 204 Suggestions for Further Research . 206 Conclusion . 212 Appendix A Compilation of CCLI's 2000-2015 Top 25 Lists . 214 BIBLIOGRAPHY . 217 v LIST OF ABBREVIATIONS BBR Bulletin for Biblical Research BSac Bibliotheca Sacra CH Church History CTJ Calvin Theological Journal CWM Contemporary Worship Music HBT Horizons in Biblical Theology JETS Journal of the Evangelical Theological Society JRE Journal of Religious Ethics SBTJ Southern Baptist Journal of Theology SJT Scottish Journal of Theology WTJ Westminster Theological Journal vi PREFACE “Do not withhold good from those to whom it is due, when it is in your power to do it.” (Prov 3:27) A dissertation is a profound occasion for incurring debt, and an acknowledgement page provides an all-too-small occasion for repaying this debt. This program has seen me travel between Michigan, Minnesota, and Kentucky, and so it seems appropriate for the thankfulness to follow that same path. To the Cornerstone University community in Grand Rapids, special thanks must be given to President Joe Stowell, Drs. Gerald Longjohn, Michael Wittmer, David Turner, and Ms. Susan Whaley for their support of this degree. My relocation to Minneapolis called for further support, which arrived through the community of Bethlehem Baptist Church and Bethlehem College & Seminary: the encouragement of Pastors Jason Meyer, Kenny Stokes, and John Piper; ministry assistants Ryan Shelton and Luke Salik; and the administrative prowess of Mmes. Lydia Schlicht Johnson and Krista Shadduck. The Southern Baptist Theological Seminary has been a rich place for these thoughts to flourish. Thanks to Drs. Bruce Ware, Thomas Nettles, and Hal Pettigrew for their first-rate work in and out the classroom. Thanks to my committee members, Drs. Joe Crider and Mark Coppenger, for the ways they shaped both this dissertation and its author. And special thanks to my Doktormutter , Dr. Esther Crookshank, whose enthusiasm for music and me was unflagging auf Schritt und Tritt . Intellectually curious friends helped shape this work when their follow-up questions and quizzical looks alerted me that my thinking was insufficiently clear. Thanks to Brian Tabb, Bryan Baise, David Crabb, Jared Wass, David Mathis, Andy vii Naselli, James McGlothlin, Matt Crutchmer, and Johnathan Bowers. Special thanks to Ken Boer, co-conspirator par excellence . Ms. Betsy Fredrick and Mr. Steve Kline lent their prodigious formatting skills to this project. James K. A. Smith provided me with a pre-publication copy of his newest book—a stunning generosity which formed and enriched my “social imaginary.” My family is owed a tremendous debt of gratitude. My parents, John and Linda, as well as my brother, best friend, and key reader, Josh, and his family. Ethan, Owen, and Levi Westerholm will each one day achieve something greater than their father has. And many women do noble things, but Lisa surpasses them all. Substantial financial support was provided by an anonymous source, which appropriately drives all thanks to its ultimate end. Soli Deo Gloria . Matthew Westerholm Minneapolis, Minnesota May 2016 viii CHAPTER 1 INTRODUCTION For the Lord himself will descend from heaven with a cry of command, with the voice of an archangel, and with the sound of the trumpet of God. And the dead in Christ will rise first. Then we who are alive, who are left, will be caught up together with them in the clouds to meet the Lord in the air, and so we will always be with the Lord. Therefore encourage one another with these words. (1 Thess 4:16-18) 1 The apostle Paul gave this command to one first-century church in Asia Minor, but believers through the various stages of church history have put into practice the exhortation to “encourage one another with these words.” Yet, to the believer attending a contemporary church and singing the most popular songs of the past fifteen years, Paul’s exhortation could justifiably seem strange. Through a number of cultural shifts, these promises of the future seem to be spoken more seldom than in previous eras. 2 The concern giving rise to the research in this dissertation is that unflinching spiritual optimism can become utopianism. Overstated declarations of “God is with victorious me” can degenerate into efforts to achieve spiritual victory on believers’ own terms. Thus, while believers ought to rejoice in the glorious inheritance that is already theirs through the finished saving work of Christ, they must recognize that Christ still has work that remains to be finished in their world and in their own hearts. Through research, this dissertation attempts to identify to what extent these patterns may be visible in the 1All Scripture references are from the English Standard Version, unless otherwise noted. 2Michael Horton places much of the blame for this change on the consumerist strain of contemporary Christianity: “When you are trying to sell a product like therapeutic transformation, there can be no ambiguity, no sense of anxiety, tension, or struggle.” Michael Horton, Christless Christianity: The Alternative Gospel of the American Church (Grand Rapids: Baker, 2008), 57. The current study is an evangelical insider’s attempt to verify Horton’s general concerns against a particular and measurable representative body of popular evangelical literature. 1 contemporary church, using as its medium the songs used as expressions of corporate worship through selected eras. Several shifts in American culture may have made the benefits of the future aspects of Christ’s kingdom less treasured by believers. Indeed, by certain means of measurement, much in evangelicalism could cause excitement. Evangelicalism’s most influential churches are celebrated for their explosive growth and large size. Well-known celebrity pastors have established widespread media platforms for distributing their messages. Some leaders with large media ministries display flamboyant personalities and conspicuous consumption of wealth that become, by design or otherwise, the goal of many of their followers. The church has followed the broader American popular culture in its celebration and often wholesale embrace of the adolescent-dictated values and norms (what may be termed a “youth culture”) and the disposable income that the market possesses.3 Some Christian musicians have achieved to date the sort of financial ascendency that their predecessors in the 1970s and 1980s could not have foreseen. Though, while many foresaw the leaders of the Contemporary Christian Music (CCM) achieving star status, few would have believed some of the biggest stars in Christian music would be worship leaders in the genre of Contemporary Worship Music
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