“[Charismatic worship] continues to develop…It welcomes pluralism in musical expression, including time-honored hymns as they are woven into a new worship tapestry” (Williams, p. 85)
“The new frontier of emerging, cross-centered churches is a present tense reality that, for whatever reason, Best could only ascribe to the future…Best may not be familiar with what has been emerging in nascent worship cultures over the past decade.” (Morgenthaler, p. 90)
Pluralism, multi-culturalism, multi-ethnicity, and diversity are part of the beauty of the body of Christ. Old and young, black and white, Greeks and Scythians worship the same God through the same High Priest. New hymns are being written in languages that have had no literature beyond a recently completed translation of the Bible.
Given that modern hymns must prove their place in the history of Christian singing, does “traditional hymn-based” worship (necessitating the use of a hymnal) dismiss the works of modern hymn-writers?
Does traditional worship, stylized to a small section of culture (Common Practice Era Europeans), dismiss the value of the contributions of other cultures to Christian singing?
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