Time to harness the power of hymns

When I first met Ross Cobb, he was both barefoot and wearing a tweed jacket, alive with creative energy that spilled out like his musical instruments across a cramped office.

I wonder – with his jovial demeanour and warm English accent – whether his students at St Andrew’s Cathedral School see him as some kind of youngish Dumbledore of Harry Potter fame – tucked away in his medieval-like stone office deep in the intestines of the Cathedral weaving together strange musical incantations.

He certainly cast a spell on me that day. I was hypnotised into believing something I never thought possible.

I am about as far from a classical music fan as you can imagine – opera is my definition of a snooze-a-thon. And I truly believe that the pinnacle of musical genius is Radiohead’s OK Computer.

As a Gen-Xer, I can remember the day my former minister killed the dwindling choir at my childhood Anglican Church. I remember the old service as stuffy and starchy, otherworldly in a bad way. More like hades than heaven.

The idea that we would have amplified rock music felt like a breath of fresh air.

I believe this was the right move – but Ross makes me doubt my convictions.

Ross Cobb, who has been musical director at St Andrew’s Cathedral since since late 2005, has vast experience across all forms of church music. He was trained at the Guildhall School of Music, London’s Royal Academy of Music and King’s College, University of London. He is intimately acquainted with some of England’s leading churches: Alpha’s Holy Trinity Brompton and John Stott’s home church, All Souls Langham Place. Latterly he was in charge of a 150-strong music team at Bristol’s Christ Church Clifton.

He tells me his first musical love was Burt Bacharach, and jazzing up contemporary songs on the giant Cathedral organ gives unending joy.

But he is adamant his real passion is seeing all forms of church music being used for the Mission: “We need a broad mind to reach people for the gospel.”

Ross believes that contemporary church music, far from engaging with the popular culture of the masses, can actually ostracise the unchurched.

“They are just flummoxed by some of our contemporary Christian songs. They are tricky to pick up and the musical backing we are providing is quite thin.”

He has witnessed a number of ‘big public’ church services at the Cathedral which has warned him that contemporary church music sometimes leaves unchurched people cold.

“There is barely a murmur during the contemporary songs. But when we play hymns the congregation almost blows the roof off.”

“The unchurched don’t know our contemporary songs. Why would they? But they know our great hymns. Whether that’s the legacy of singing at rugby games, I don’t know, but there is a common cultural currency we need to tap into for the sake of the gospel. I’ve found that with kids in schools all around Sydney, and not just at St Andrews.”

In contrast, he argues that sometimes what passes as contemporary church music no longer reflects popular music styles, ‘if it ever did’.

“We need to ask if our church music really is contemporary. We have created a genre that doesn’t exist anywhere else and called it Christian contemporary music. What contemporary band consists of a piano, clarinet, a guitar and three singers singing in unison?”

So what is the solution for congregations committed to a contemporary genre?

“Let’s listen to real contemporary music. Hear the quality of production and attention to melody, instrumentation and lyrics – and then put on a Christian CD. Ask yourself- does the Christian one sound contemporary? If not, why not? Let’s work out how we can make our music become truly contemporary.”

Ross refuses to make any comparison between Sydney Diocese and the UK church music scene. He says there are strengths and weaknesses in both places.

“Sydney’s great strength is that it is amazingly committed to the work of the gospel,” he says. “It’s like no other diocese I’ve worked in. It’s so, so extraordinary and unique that I’m still getting my head around it – the broadscale focus on and commitment to reaching people with the gospel… It’s very refreshing.”

“But we aren’t perfect, Ross,” I protest. “Can’t you give me a few hints to help our churches address their weaknesses?”

Ross sits silently for a second and then laughs heartily.

“If I answer that your readers will just think I’m another whingeing Pom,” he chuckles.

Earlier this year Mike Raiter, Principal of the Bible College of Victoria, wrote a stinging article in The Briefing lamenting the death of congregational singing in evangelical churches.

Ross agrees quietly that Mike has hit one of his ‘biggest bugbears’.

“Mike Raiter’s point about the death of congregational singing is absolutely true. If our aim is to get the congregation to be singing to God and each other - and it should be - you can’t beat a good old fashioned hymn that people know and has good gospel words.”

Ross is getting excited: “Now, what you do with that hymn is very much up to you. People have a very diverse taste and God has an even broader one. Jazz the hymn up if that’s you. Sing it with a guitar, a didgeridoo, a pipe organ- whatever. But make sure you sing them – the tunes are good and the words are tried and tested and full of gospel truth.”

Ross explains the main problem is that many contemporary songs are written firstly for musicians to play, rather than for congregations to sing.

“Church music should be aimed at the congregation to sing, not the musicians to play. If it is difficult to sing or it is not in suitable key for the congregation then it should be changed...”

“Should we blame Hillsong?” I ask cheekily.

“Singability is not an issue at Hillsong,” Ross replies firmly.

I nod knowingly.

The Way Forward

1. Seek unity across all music styles
Ross Cobb believes a roadblock to using music for the gospel is that contemporary band directors and traditional organists are often at each others’ throats.

“I am urging people to embrace both traditional and contemporary music,” Ross says. “Neither should look down their noses at the other. If we are going to reach 10 per cent of Sydney, then it is inevitable that we are going to have to make ‘horses for courses’ decisions and incorporate as many styles of music as there are people. The gospel is bigger than any musical style, be it old or recent”.

Ross believes church ministers can help team building across the musical divide.

“Both sides need to understand each other and develop a common vision: that of reaching the lost… Unity is always a powerful thing for the gospel ministry.”

He suggests one way to begin is to run special musical outreach events that specifically combine traditional hymns with contemporary elements.

“The other thing to unite around is making the music – of whatever style – as good as it can possibly be. What type of music is a side-issue. People are attracted to quality above all in music.”

2. See organists as a gospel partner
“If you have an organist, love him,” says Ross. “He can help you harness the power hymns have in reaching the unchurched.”

SC has on-the-ground evidence that churches who resource traditional services can see conversion growth. Indeed, Mittagong parish has planted a new 11am traditional Anglican service which has seen some growth, including ‘returnees’ to church life after a long break.

Ross believes more churches should be using traditional services for outreach: “A commitment to excellent classical music is essential if we are going to take the gospel to all of Sydney.”

3. Support musicians’ ministry
Many churches struggle to deliver quality music due to a lack of human resources. Ross identifies two solutions.

Firstly, churches need to treat musicians more seriously. “Be strategic about training key musicians; pay for singing lessons, send your musicians to TWIST [who] are excellent at encouraging musicians to aim for excellence.”

Secondly, Ross says, churches can do more to support their musicians in evangelising other musicians. In this regard, Ross is thankful for the Cathedral’s support of the ministry to the Conservatorium of Music.

“Our ministry at the Con has flourished in last four years. We are just seeing the new grads coming through and that’s starting to pay off in terms of the music we are able to deliver at the Cathedral. We have a new brass group and an innovative new jazz ministry… Pray that God will bring in a harvest of gospel-minded musicians across Sydney to create the church music of the future.”

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