“Ethno-what?”

People always say that when they hear what I do. I sigh, knowing the familiar script that will unfold, like one I recently had:

“I’m an ethnodoxologist.”

Eyebrows raised, the quizzical look ensues. “What in the world is that?”

“Well, ethnodoxology studies the way people worship the Lord in cultures around the world.”

The quick shake of the head and slow blink of the eyes demonstrate it was the first time he had thought about how other cultures worship.

“Hmm,” he responded. “What’s the use of knowing that? Don’t they just sing the songs we do?”

At least he was being honest. “My job is to encourage and equip Christians in various cultures to express their faith through their own heart musics and other arts.”

His eyes brightened, “Hey, heart music! Is that kind of like heart language? A missionary once told me that people should have access to the Bible in their heart language.” Now it’s my turn to be surprised.

“Yep, that’s right!” I respond, “Just like each person has at least one heart language, we all have our own heart music; it’s like a mother tongue for expressing your heart, and it affects how you worship.”

“Wow, that’s, um… interesting. But isn’t music, like…a universal language?”

Musical Misnomer

“Music is the universal language.” How often have we heard the phrase? It’s amazing—the power of an oft-repeated, unexamined aphorism. This one in particular, it sounds so, romantic—convincing.

Yet this notion has had some major effects on the worship practice of the North American church and the mission movement that grew out of it. The phrase in question first appeared in the writings of Henry Wadsworth Longfellow in the early 19th century. Close to two centuries later, it filters into our pop songs and permeates our collective consciousness as one of those unexamined assumptions, which for many shapes their worship theology, their mission practices, and how they speak about music in everyday conversations.

What are the logical outcomes of thinking of music as a “universal language”?

– What it means to me, it probably means to you.

– There’s only “good/bad” or “high/low” in this language of music, not different music languages.

– Since I speak this universal language, I should know what qualifies as a high or low expression.

– Given a choice, people probably prefer to use Western music.

What is the state of the music debate in your church? Have you seen these assumptions in your context? If so, how have they affected the breadth of styles that your church sings?  

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This will be a three-part post, adapted from my article published in “Worship Leader Magazine” in Nov/Dec of 2009.  I welcome your responses!