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GUEST BLOG: “Music: ‘The WOW Factor’ in Worship” by Thomas R. Vozzella

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MUSIC: ‘THE WOW FACTOR’ IN WORSHIP, by Thomas R. Vozzella
 
“The WOW Factor” is the current buzz term. From television shows, to books, to music, to service providers (Knology has become WOW!). WOW is in! Any way you can dish it up, people want a WOW experience. How does WOW factor in to church, specifically, music used in worship? I am sure we have all attended a worship service or two, where we have left feeling less than enthusiastic about the experience.
 
When planning worship, do we consider the impact our planning will have on the worshippers or, are we more concerned with how each song, and Bible passage relate to each other – what responsive readings and responses will enrich the worship experience – is the instrumental music germane to the theme, etc? All are important aspects of worship.
 
Giving worshippers various opportunities to experience God, either through music, the spoken word, responsive readings, etc., is vital to the worship experience. In our “me” oriented society, it seems to always be about us. Is worship about us? Some seem to think so. Given this paradox, how do we allow worshippers to experience God in worship that is not about them? To do this, our services need to incorporate some kind of WOW factor.
 
Why do we have to WOW them? The answer is quite simple. God WOW’d us when He sent “His only begotten Son…” on our behalf. That was the greatest WOW experience ever. Therefore, it goes without saying, the idea of bringing worshippers to a point where they will be WOW’d by God is an important part of worship.
 
Being WOW’d in worship, as the world was WOW’d some two-thousand-years ago, allows worshippers to experience God. Why can’t music be the way in which people are WOW’d by God? There are many ways we can assist worshippers in experiencing the WOW of God. Following are a few ways we can bring “The WOW Factor” to worship, through:
  • a finely tuned anthem, incorporating extreme dynamics, and tempos.
  • an exciting hymn in which the organist brings the text alive through registration changes.
  • a chorus or praise song, that elevates the Word of God in a meditative way.
  • a piano and organ duet on a well known theme.
  • a jazz guitarist improving on a beloved sacred melody.
  • a child introducing “Jesus Loves Me,” followed by all singing.
  • the singing of a beautiful chant from an alternate place in the worship space.
  • a brass ensemble joining the choir and congregation during the singing of “The Hallelujah Chorus.”
There are probably hundreds, if not thousands of ways we can bring “The WOW Factor” to the music used in worship. I invite you to share ways in which you have experienced or think we can bring “The WOW Factor” to worship, through music.

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Comments

  1. Craig, similar to your example, although not a direct corollary – When I attended the Royal School of Church Music, Overseas Course, no longer offered, Dr. Lionel Dakers (the then RSCM Director) told this story. At the Kings College Christmas Eve Service, the soloist for Once In Royal David’s City, was chosen by Sir David Wilcocks just moments before the procession would begin. Now this is WOW moment for the choir, and the audience, and parent of the singer that would be in attendance.
     
     

  2. A good matter to look at!
    I wonder if the distinction might be expressed this way:
       In some situations, (tech business, certain movies, etc.) , the goal is basically to get the “Wow!” by being [technically] impressive.
           In churches/synagoges/places of worship, in move-your-heart films like Forrest Gump, in the instance of the child singing “Jesus Love Me”, and suchlike, *the goal is to respond to our own “wow” – the significant thoughts and feelings, even the questioning and mystery,  already in our hearts, and find a way to express it creatively [ and with some clarity ]  toward the congregation/audience.
    Whether in a sacred or secular venue, this is, I feel, the essence of artistry in any form.
    * Sometimes we are the “empty vessel” – expressing the composer’s/writer’s/character’s feelings – even if they are not aligned exactly with our own.  A classic case is the renowned contralto, Florence Kopleff.  Although Jewish, she sang the solos as part of many Christian-based cantatas/oratorios.  She considered it her responsibility [as a professional, well-paid soloist ] to express them in such a way as it would be meaningful to Christians, or anyone,  in the audience.  I always admired her in many ways, but especially for that.

  3. Every year when I was an undergrad at Ithaca College, at the conclusion of the yearly “Ford Fest” which happened in December prior to final exam week, one singer was always selected to sing a solo, unaccompanied version of “Silent Night” from the back of the auditorium in absolute darkness. Without fail, every one of my four years experiencing this device ended with silence from the WOW factor of such a delight. Even though this was not a worship service, the experience to me was (I believe) the definition of what Mr. Dorsey is looking for.
     
    Craig

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