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CLAPPING AS AN ACCOMPANIMENT
TO SINGING IN WORSHIP
The practice apparently has its origin in the youth-devotional phenomenon of
a few years back, but now is gaining some mainline defense.
It is argued that clapping as a rhythmic form of accompaniment to singing in
Christian worship is not an “addition” to the singing (as is a mechanical
instrument); it merely is an aid — comparable to a song book.
Aid or Addition
This is the argument the Christian Church has made for years regarding a tuning
fork or pitch pipe. These folks contend that the musical instrument is equivalent
to the pitch pipe — just an aid; thus, both are permissible in the worship.
In essence, N. B. Hardeman responded to the rationalization in this fashion.
The pitch pipe is not parallel to the piano because the pitch pipe has “enough
sense to shut its mouth” before the singing begins; the piano “blabs”
all the way through the song!
A pitch pipe aids in obtaining the pitch, but it does not add a new element
to the worship. Similarly, a song book adds no accompanying sound; clapping
does. When one uses a song book in praise, he is doing nothing but singing.
When he begins clapping, he is no longer just singing; he is singing and clapping.
Clapping is not an aid; it is an addition — just as an instrument is.
Here’s an important question. If clapping as an accompaniment to singing
is just an aid, how does this noise “aid” the singing? Does it convey
the praise more clearly and emphatically to God? Does it somehow enhance the
reciprocal (“one to another”) “teaching” and “admonition”
that the song’s words are intended to convey (Ephesians 5:19; Colossians
3:16)?
It is imperative that Christians study carefully and think critically as to
how one discerns the difference between an “aid” and an “addition.”
This is a crucial matter upon which many issues hang.
Silence: Prohibitive or Permissive?
Another argument designed to legitimize clapping is called “permissive
silence.” It is the idea that since clapping does not cross “category”
worship lines, it is permitted.
Genuine “permissive silence” is simply another way of saying, “expediency.”
An expediency is permitted under generic authority. Utensils for distribution
of the communion are allowed as expediencies because they do not alter the prescribed
elements (bread and fruit of the vine). Clapping is not an expediency; it is
an innovation.
The “Category” Argument
It is alleged that in order for a “sound” action to be a violation
of the New Testament pattern of praise worship, it would have to be a sound
of a different class, or category, i.e., not a “human” sound, but
a “mechanical” sound. A strictly “human” sound is allowed;
a mechanical sound is forbidden.
This contention is flawed, both in logic and in the application of scripture.
The classification argument is wholly arbitrary with a manufactured distinction.
If the point were valid, whistling, humming, and yodeling could accompany the
singing, since all of these are human sounds. The fact is, playing an instrument
ultimately is a human sound, because no instrument can play itself.
If the argument under review were consistent, it would suggest that singing
with a piano is acceptable because ultimately it is a human sound, and the instrument
is only an aid. That is precisely where this line of argument leads.
Sound or Song?
We are not instructed to “make sounds”; rather, the command is to
sing (Ephesians 5:19; Colossians 3:16). Clapping is not singing. Singing is
the expression of thoughts by words through melody. Singing is intended to convey
“understanding” (1 Corinthians 14:15). There is no “instruction,”
analogous to singing, in a mere sound.
This was Paul’s point in forbidding speaking a language in an alien assembly
when no interpreter was present (1 Corinthians 14:28). To contend that clapping
is permitted, because it can impart “encouragement,” opens the door
for the instrument, for the sound of an instrument can impart encouragement
(e.g., the cavalry charge; cf. 1 Corinthians 14:8).
If any human action different from singing is to be sanctioned — because
it is restricted to the category of “body” action — then dancing
would be allowed as an accompaniment to singing. Dancing was commonly practiced
as a form of praise under the Mosaic regime (Exodus 15:20; 2 Samuel 6:14; Psalm
149:3; 150:4). It does not inhere a mechanical instrument. Are we ready for
the sacred dance?
Earl Edwards, professor of Bible at Freed-Hardeman University, correctly has
observed: “Clapping is a type of percussion very similar to the music
we produce on a drum.” (291). He further noted that there is no difference
in using “live skin” to make a noise (clapping), and “dead
skin” to make a noise (beating a drum). One cannot license the former
without endorsing the latter.
Manifestations of Praise
Under the Mosaic economy, many forms of praise were employed — prayer,
singing, dancing, clapping, playing instruments, shouting, offering sacrifices,
and burning incense (cf. Psalm 47:1-7; 66:13-15; 150:4, etc.).
Each of the above involves a different action — some solely with the body;
others with the use of humanly-utilized instruments or implements. The Old Testament
writers made no qualitative distinction between these various categories.
When one examines the New Testament, however, he finds an entirely different
situation. Worship is a spiritual exercise that leaves behind the more “carnal”
features of the former regime (cf. Hebrews 9:10; 13:15).
The Matter of Authority
When all factors are considered, the issue comes down to this. There is no New
Testament authorization for instruments of music in worship; nor for clapping
or dancing. As Jack Lewis wrote: “If the primary task in worship is to
make worship conform to Scripture, then clapping and stomping have exactly the
same support in Scripture that instrumental music does — none at all”
(26).
Hugo McCord declared: “Nothing in the New Testament teaching on worship
(John 4:24; Hebrews 2:12; 13:15; Ephesians 5:19) calls for hand-clapping, body
movements, or shouted words” (see Sources).
The New Testament authorizes (commands) “singing” as an expression
of musical praise. To import other elements from the Mosaic code, or to arbitrarily
introduce them, is a form of “will-worship” (Colossians 2:23), i.e.,
a species of worship that either is “forbidden” or “unbidden”
(Vine, 881). Thayer called it “arbitrary”; a “worship which
one devises and prescribes for himself” (168). F.W. Danker, et al., characterized
will-worship as a “self-made, do-it-yourself religion” (276).
Clapping violates the Lord’s instructions regarding worshiping “in
truth” (John 4:24; 17:17); it ignores the prohibition of going “beyond
that which is written” (1 Corinthians 4:6), and it fails to abide within
the teaching of Christ (2 John 9). Clapping, as an accompaniment to singing,
has no support in the history of genuine Christianity. In his classic work,
Instrumental Music in the Worship, M.C. Kurfees introduced a quotation from
a very early period in church history, formerly thought to issue from Justin
Martyr — now generally attributed to Theodoret of Cyrrhus (c. 393-458):
“Simply singing is not agreeable to children [i.e., the infantile state
of the Jews under the law of Moses], but singing with lifeless instruments and
with dancing and clapping; on which account the use of this kind of instruments
and of others agreeable to children is removed from the songs in the churches,
and there is left remaining simply singing” (193-194).
Thirty-five years ago Everett Ferguson, a premier historian of ancient Christian
history, wrote a small book titled A Capella Music in the Public Worship of
the Church. In one chapter he addressed the matter of music worship in the early
centuries of the church. Over and over again (more than 75 times) he cites from
the writings of the “church fathers” — both ante-Nicene and
post-Nicene — concerning how the primitive church worshiped in music.
I have combed through these citations looking for references to “clapping”
in connection with Christian worship. I found only two — both were negative
concerning the practice. One was the citation mentioned just above — Theodoret.
The other was Gregory of Nazianzus (329-389), who wrote:
“Let us take up hymns instead of timbrels, psalmody instead of lewd dances
and songs, thankful acclamation instead of theatrical clapping” (Ferguson,
1972, 76).
Incidentally, in a discussion of the actions involved in Ephesians 5:19 and
Colossians 3:16, Ferguson pointed out that: “non-verbal sounds made by
the voice or other parts of the body” do not meet the criteria of these
texts. Only “words that are rational, intelligible, and spiritual”
satisfy the divine demands (2002, 100).
The growing practice of rhythmic clapping as a supplement to congregational
singing has the support of neither scripture nor history. It is a relatively
recent innovation that is a corruption of Christian worship.
Nullification by Intimidation
Some, who attempt to defend the “clapping” phenomenon, apparently
think that if they marginalize the opponents of the practice by labeling them
as the “radical right,” opposition will cease. Also, it is contended
that this issue must not “disrupt unity.”
Informed people know who the “radical right” are, and men like Hugo
McCord, Jack Lewis, Earl Edwards, and Everett Ferguson are not among them —
nor is this writer.
Moreover, the quibble that if we press this issue we will create “division,”
is the same complaint the Christian Church has made for years, and now is being
echoed by the “liberal left” regarding the instrument.
A Sobering Consequence
Consider this closing thought. If “clapping,” as a worship companion
to singing, is in the category of instrumental music, where does this leave
those who practice, and/or sanction this addition to worship?
When mature leaders begin to argue for the use of instrumental music, do we
ignore them, or do we address the issue and benevolently press upon them the
consequence of their action? This should not be a difficult question to answer.
By Wayne Jackson
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