Multi-generational or Intergenerational?They DO NOT mean the same thing.

I’ve written on this before at length (What does it mean to be Intergenerational?), but I continue to read and hear some very well-intentioned people use the term multi-generational in the same way as intergenerational. They are not the same. While both celebrate generations, one means there are many generations present, while the other means they are doing something together. I am careful to make the distinction because while the terms are not mutually exclusive, the term intergenerational is a step beyond being a multi-generational congregation. Let me explain further:

*Multi-generational (multi-gen) simply means what is says: multiple generations are present in your church/worship service etc. However, it does not imply that they are interfacing in any way. You must be multi-generational to be intergenerational, but you can be multi-generational without being intergenerational.

*Intergenerational differs from that of multi-generational in that while a church might have multiple generations present in worship services, the generations may never interact with those from other generations.

I would agree that most churches, to some extent or another, are multi-generational. Some might even celebrate the fact that there is much generational diversity present. You may wonder why I want to make the distinction. I believe it’s in the inter-relatedness of the generations that we find the most biblical definition of community. All local churches should ask themselves: in what ways will these generations have the opportunity to interact in mutual activities with those from other generations?

Intergenerational churches (ministries) should meet the following criteria:

  1. Two or more adult generations should be present regularly in mutual activities (ministries).
  2. These activities should encompass a broad spectrum of experiences such as worship, fellowship, study, missions, outreach, etc.

From my reading, research, and study on the subject, I devised a list of “must haves” when it came to being considered not only an intergenerational church, but having intentional intergenerational worship services. I consider these churches to be a “pure” form of intergenerational. Intentional intergenerational churches with intergenerational worship must meet the following criteria (based on the above definition):

   1. Must have multiple adult generations represented. Really, three is the minimum. It’s easy to meet this criterion if you have Boomers, Xers and even older Millennials.

   2. These multiple generations must be engaged in mutual activities. Once you get them together e.g. in worship, it’s actually EASY to do this. If they’re singing, studying the Word, participating in the Lord’s Supper together, then they are engaged in mutual activities. Make sure multiple generations are serving on your worship teams (music—especially the choir and orchestra/AV/ushers).

3. All generations in the service must be valued and understood to be equally important. This one can be tricky because it might be harder to know if everyone feels valued or important. However, as a leader you MUST be continually listening to all generations as they share their thoughts and figure out ways to value each generation. This goes beyond just listening to your choir/music team and orchestra/band members. Listen to the congregation. Make sure they feel valued and understood (listen)!

When I did my research on choirs in intergenerational churches, the leaders I interviewed shared what they did to ensure those from various generations felt valued and important. Here are the top four answers (1 being the most frequently offered):

4. Soloists and Praise Team members are intentionally selected from various generations. I cannot stress the importance of this as an easy tool to incorporate multiple generations in worship leadership. If your congregation has multiple generations, then the “face” of the music ministry should mirror them as well.

3. Encouragement from the leader (verbal and written). The people with whom you serve and those you serve need to know that you appreciate them—all of them!

 2. Treat all the same. Don’t show favoritism based on age. This can be harder than it sounds. The young, attractive singer is easy to use, but is it the “best” choice for the context you’re in? Conversely, don’t try to “appease” older members to the degree that the younger generations feel that their own “voice” is not heard.

 1. Use of varied literature. Easier to write and less easy to implement in some cases. While it makes sense that different generations will have certain song choices that speak to them, it shouldn’t be the main influence on your literature choices. In a nutshell, base your song choices on clarity of text and always, always figure out what is the “voice of your congregation.” There are songs that every congregation is drawn to…find them and use them along with excellent new things.

4. If multiple weekend services are offered, not counting separate services such as a Sunday night service, they must be mirrored in terms of content and musical style, rather than offering separate services based on style.  I discuss this one at length in another blog article you may read here: Intergenerational yet have multiple styles of services. Is it possible?

The distinction is important not because of syntax or academic “rightness,” but because of the biblical command to live in unity (commUNITY). It’s only through the engagement of all generations in the mutual, unified work of the gospel that we line up with the Lord’s plan for the church (ekklesia).

Are Solo-Driven Choir Songs Anti-Intergenerational?

Have you thought about how many songs your choir sings that feature a solo that “drives” the song you are singing? I don’t mean a simple verse solo or a small section in the song, but a full-song solo where the choir essentially takes a “back-up” choir role. If you are in my choir, you’ll sing plenty of these types of tunes. There are a few reasons this is the case in my choir and possibly yours as well:

  1. Some of the most popular songs for choirs today have solos that drive the song. I’m not in a popularity contest, but there are some great church choral songs (new and not so new) that have solos in them. I want my choir to learn lots of great things that have great texts and are solid musically.
  2. I can because I have lots of soloists. Having lots of great soloists makes it easy to present these types of songs, especially when you have some that really communicate the message in a special way…like Spencer in the feature photo here.
  3. Sometimes they are easier or faster to learn because the soloist has the bulk of the song. Sometimes the hardest part of learning a choral song are verses because of the variances of texts and rhythmic structures that can be tricky. If the choir is learning choruses only, which often repeat, the process of learning the song is expedited.

While we enjoy the flexibility to do lots of solo-driven choral literature, I am often conflicted about over-using these types of songs because of my commitment to value the contributions of all the singers in my choir. It’s a constant battle; one I’ve been contending with for years. When I researched intergenerational choirs in Georgia in 2014, I asked the leaders of those choirs how much of their own choral literature was solo driven.  Here are some results:

  1. Over half of them indicated that they only used solo-driven choral literature in about 20 percent of their anthems.
  2. About another 25 percent of those interviewed said they used solo-driven literature up to 40 percent of the time. 
  3. Smaller church choirs sang fewer solo-driven anthems than the largest church choirs.

A couple of observations from this data…

  1. Solo-driven literature does not “generally” dominate the choral offerings of churches that are intergenerational.
  2. Small church choirs probably have fewer soloists than the largest church choirs. Therefore, it’s plausible that more soloists could possibly equated with more opportunities to sing solo-driven literature. 
  3. There were no indications that age of leader or choir members had any bearing on the percentage of solo-driven anthems used.

One area that seemed to have a bearing on how much solo-driven choral literature was sung was the publishers frequently used. Those leaders who frequently purchased from more traditional publishers rarely used solo-driven anthems. Conversely, those who used only one or two publishers from the evangelical side reported much higher use of solo-driven anthems.  My personal observations (a quick count at any current choral pack from any publisher will reveal) Prism, Word, and Brentwood-Benson publish more solo-driven literature than other evangelical publishers (Lifeway, Lillenas, Praisegathering). I love, and use music from, each of these publishers, so do not think I am speaking negatively about any one publisher. I am simply commenting on what I see when I open their choral club packets/boxes.

The long and short of it? Broaden the number of publishers you listen to as you search for choral music for your church choir so you may find all types of songs—especially if you find yourself leaning towards solo-driven literature all the time.  This it is often hard to achieve, but necessary for balance if your goal is to create an atmosphere where all members of the choir feel valued and important.

Personally, I am guilty of relying on solo-driven literature at least 40 percent of the time, sometimes more. We sing tunes from every one of the above publishers and I love the variety of music types that can be found, but often I find some of the best tunes I can find (in my opinion) are solo-driven. But, since I firmly believe that valuing all in my music ministry is important, I know I must be careful to look for balance, which includes purposely looking for choir only literature that fits our context.

As a side note: thankfully, some solo-driven songs can be adapted to include more of the choir. For instance, verses that a solo would normally sing could be sung by the women or the men. I’ve done that on several songs and it has worked very well.

The Noise is Deafening and It’s Not My Fault!

This past weekend, some of our music and worship team from Ivy Creek led the music for the large group corporate worship times at the Georgia Baptist Women’s Ministry Spring Event at Stone Mountain. We had a blast meeting new folks and getting to connect with women of ALL ages from all over the state. The women were very encouraging about the musical offerings we presented and the variety of congregational songs we chose to lead, but do you know what the number one comment of encouragement was? “Thank you for not having the music SO loud that we didn’t get a headache.” OR “we could hear each other sing and yet the music was still energetic and supportive.” Don’t think that it was just older women either…no, it was folks from all ages.

Now, I’d heard these volume comments before (some good and some not so good), but they made a deeper impression this weekend because I’m constantly looking for ways to alleviate distractions in worship so the Father is highlighted and not what I am doing. Decibel levels matter, my friends. Prolonged, heavy vibrations in the ear drums can cause hearing damage. So, today I submit that not only are our musical choices important to connect generations together in worship, but the volume of that music is important too.  

Any concert or church that hands out ear plugs (and there are MANY) before the music starts says to me, “I’m not concerned with your aural health enough to lower the volume to a healthy decibel level. Accept this small token to alleviate the painful noise because I seemingly care about you. But, those younger folks here, perhaps your sons and daughters that came in with you, they can tolerate the higher decibel levels (even if it damages their hearing long term).” Really??? But I digress. I do believe understanding some possible reasons WHY decibel levels have gotten out of control may help us understand why it’s important to be cognizant when considering volume levels in the intergenerational church.

SOME REASONS VOLUME HAS GOTTEN LOUDER 

  1. The advent of rock music (and specifically its live performance) is predicated on the feeling (vibration) the music brings to the listener/enjoyer (music coursing through your veins—literally)
  2.  With the advent of car radios (especially as stereo and bass technology has risen) one can be literally “enveloped” with sound
  3. Churches have tried to mimic the feeling of a rock concert to increase the emotional and physical experience

A FEW ARGUMENTS FOR LOUD VOLUME

  1.  The enveloping of sound is a perfect way for non-singers to feel “safe” to sing uninhibited
  2.  We can feel and hear the energy of the music
  3.  Non-Christians are more comfortable hearing/and seeing music like what they experience at concerts/radio, etc.
  4. Not having music that engulfs us makes the music sound anemic

In these arguments, and there are plenty of others, there’s not one that I can tell that could not be achieved with a reasonable decibel level. Perhaps not at the same degree though. Certainly it is more challenging to “feel” the bass when it’s not thumping.

SOME REASONS TO FIND A REASONABLE DECIBEL LEVEL IN WORSHIP SERVICES

  1. Music that is so loud and piercing limits creativity to some degree. Dynamics, vocal harmonies and the like, are harder to distinguish and achieve. I’ve heard “softs” that still had high decibel levels
  2. If you are going to have multiple generations in your services, multiple studies have shown that something physiological happens the older we get…the ear inside our ears gets stiffer as one ages causing our tolerance to certain decibel levels to decrease
  3. We need to hear each other as we sing together because of the biblical command to admonish and teach one another through singing songs of worship (Ephesians 5:19). Pretty hard to do that if you can barely hear the person next to you. Where’s the community in that?
  4. Loud decibel levels can distort text or make articulation incomprehensible. Pretty sure text is what sets worship apart from any other musical experience.
  5. Oversinging may cause vocal damage
  6. Loud decibel levels over extended time may cause hearing loss

To be clear, I’m not targeting modern worship music or bands that play a certain type of music. I love all types of music! I am specifically targeting the decibel level of ANY type of worship service. I’ve heard organs that have literally moved me physically with the vibrations and caused me to hold my ears.

I submit you: Extremes in volume (decibel level) may be polarizing relationally in the intergenerational church. Finding the balance is key in your own situation. Sometimes sitting in certain places in a worship center can yield a different sound. I know there are places in our worship center that are louder than others. I encourage folks who mention they can hear too much sound/cannot hear well to move around until they find what works for them.

Even as we consider this issue, there will be people in our sphere of influence that will never be pleased with volume levels because their preferences are so extreme. That’s okay; we in intergenerational churches are used to having to remind our folks that we are guided by the philosophy that we are better together, guided by the Word and the Holy Spirit, and always looking to find practical ways (volume included) to achieve the best balance for our church culture and context.