What is it about music that makes it so intensely personal for us? Why is it that if I write a blog post discussing music in worship there will necessarily be people who are offended? Somehow, we see music as extremely personal and taste-based, so any attempt to question such a paradigm is taken as an attack on an individual’s taste. What if, however, we are wrong? Not only are we wrong to be offended by these questions and discussions, but we are also wrong to categorize music as a personal taste.
Many churches face questions of music. What type of music should we sing? Contemporary? Traditional hymns? Psalms? With or without instruments? Pianos and pipe organs or guitars and drums?
Many–although maybe not Kuyperian readers–will argue that contemporary music with praise bands is the better choice. It is inclusive of the young people who desire it. But is it? There are several problems with this line of argumentation.
First, while contemporary music may be inclusive of young people, something I’m not yet willing to grant, it is exclusive of everyone else. Why is it that contemporary music gets a free pass for the inclusivity argument, when it is excluding just as many people–if not more–as traditional music may? Why can’t traditional hymns and psalms be argued as the better choice because they are inclusive for everyone else?
Second, isn’t there a problem with the inclusivity argument from the beginning? Contemporary music is inclusive of the young–if it is–but only so long as it is actually contemporaneous to the young. Traditional hymns and psalms are timeless. They will always be inclusive for their particular class of listeners. Contemporary music will be inclusive for one generation and will follow that generation, until the newer, more contemporary music alienates them in favor of a new group of listeners.
Finally, it is worth questioning whether it is actually inclusive of the young. Most of the proponents of contemporary music are actually middle-aged adults who think young people like it. The young in America today, however, are starved for tradition and gravitas. They want high liturgy, good–in the objective sense–music, and rituals. If they wanted contemporary music, they wouldn’t come to church for it, they’d turn on the radio, attend a concert, or visit a club. The Roman Catholic Church may be worth taking a cue from on this point. The last three popes, each of whom are older popes, have been wildly popular with the young. It isn’t the cool and hip the young want from church, it is the transcendant, liturgical, and sacramental. The cool and the hip is what the middle-aged want.
Let’s try inclusivity. But let’s try it the right way. Let’s try it by singing music that is timeless and cross-cultural, dividing asunder the boundaries of age, race, socio-economic status, and gender.
Many of us grew up in theological backgrounds where the psalms were known, but not sung. These theological backgrounds are anomalies throughout the history of the Church. E.F. Harrison observed that “Psalmody was a part of the synagogue service that naturally passed over into the life of the church.” Calvin Stapert speaks of the fathers’ “enthusiastic promotion of psalm-singing” which he says, “reached an unprecedented peak in the fourth century.” James McKinnon speaks of “an unprecedented wave of enthusiasm” for the psalms in the second half of the fourth century. Hughes Oliphint Old argued that Calvin appealed to the church historians (e.g. Eusebius, Socrates, Sozomen) as well as the church fathers (e.g. Augustine, Basil, Chrysostom) for the singing of psalms. While the Reformers did not advocate the exclusive singing of Psalms they did express “a partiality for Psalms and hymns drawn from Scripture.” a
The Reformer Martin Luther urged that Psalms be sung by congregations so that “the Word of God may be among the people also in the form of music b.“ By the end of the 19th century, however, most hymnals produced had limited psalms to a couple of well-known pieces like Old One-Hundredth. Beyond that, scriptural references had all but disappeared. Terry Johnson summarized the state of psalmlessness:
This eclipse of psalmody in the late nineteenth century is quite unprecedented. The psalms, as we have seen, have been the dominant form of church song beginning with the Church Fathers, all through the Middle Ages, during the Reformation and Post-Reformation eras, and into the modern era. By the beginning of the twentieth century the church had lost the voice through which it had expressed its sung praise for more than 1800 years. c
Though the last hundred years were not psalm-friendly, we have seen in the last 30 years a kind of revival of psalmody in the modern church, especially in the Reformed tradition. New hymnals, like the Cantus Christi, and many others are including old and new psalms ( metrical and chants).
So why should we sing the psalms? Aren’t the 19th century hymns and contemporary songs sufficient to fulfill the worship demands of the modern congregation?
The answer is a resounding no!
There are ten reasons I believe congregations should begin to sing psalms once again:
First, Psalm-singing is an explicit biblical command (Ps. 27:6). The Scriptures encourage us to sing “psalms and hymns and spiritual songs, with thankfulness in your hearts to God” (Col. 3:16). To have the word of Christ dwell in you richly means to invest in the rich beauty of the Psalter. How can we sing what we do not know? Is there a better way to internalize the word than to sing it?
Second, Psalm-singing was the ancient practice of the Church and it continued for 1,800 years. We honor our forefathers and our history when we sing their songs.
Third, Calvin observed that the psalms are “An Anatomy of all Parts of the Soul; for there is not an emotion of which any one can be conscious that it is not represented here as a mirror.” The psalms are satisfying to the human being. We are homos adorans; worship beings. God is not against emotions, he is against emotionalism. The Psalter is an emotional book. It provides comfort for the people of God at different stages of life. As a minister I have never once walked into a hospital room and been asked to read a text from Leviticus or Romans, but rather every time I have been asked to read a psalm (most often Psalm 23). The psalms reach deep inside our humanity in time of pain.
Fourth, singing the psalms builds our Christian piety. It is nurturing to our souls. It is God’s devotional book; God’s hymnal. Singing the psalms restores the joy of our salvation. Ask me what book of the Bible I would take to a desert island, and I will not hesitate to say “The Psalms.”
Fifth, the psalms are ultimately made for the body. You may sing the psalms on your own, but they reach their culmination when sung together. They are meant to be roared (Ps. 47:1), because they were written by the Lion of Judah. When we sing together we are both being edified and edifying one another. “We sing because in singing we join together in common breath and melody in a manner that no other medium can duplicate…We become an assembly unified in purpose and thought. And by our singing, we hear God’s Word for us, and the world hears it loud and clear.” d
Sixth, we should sing the Psalms because they re-shape us; they re-orient our attention. We are a people constantly being sanctified by the Spirit of God, and the Spirit has specifically inspired 150 psalms for our sanctification. How should we pray? How should we ask? How should we lament? The Psalms helps us to answer these questions, and thus shape us more and more after the image of Christ.
Seventh, by singing the Psalms we are worshiping the Spirit. The Spirit hovers, shapes, re-makes in the Bible. He is the music of God in the world. In an age when the Third Person of the Trinity has become the source of theological confusion, the Psalms keeps us focused on His role and purposes in history.
Eighth, we should sing the Psalms because our current songs are often cheap and shallow. The Psalms are rich and full of substance. If we wonder why the evangelical community is so powerless, one reason for this is its trivialized worship. Modern worship is often a pietistic exercise, which is manifested in poorly constructed and pessimistic theology. But the Psalms teaches us that God is full of mercy and powerful over all His enemies (Ps. 2). The Psalms are political statements. They are direct attacks on those who challenge the supremacy of King Jesus.
Ninth, the Psalms should be sung because our children need them. Our little ones need to know the God they worship in profound ways from their earliest days. We become what we worship, and so our children will become what we sing.
Tenth, you should sing the Psalms because the world needs them. The world does not need a weak Gospel. She sees plenty of it already. She needs to hear a Gospel of a God who delights in praise, who will not allow evil to go unpunished, and who prepares a table for us.
This may all sound daunting and strange. But I’d encourage you to take that first step. What first may appear to be strange may become a wonderful journey into praise and thanksgiving to the God from whom all blessings flow.
For more information on how to sing the psalms, or for resources, please contact me at uriesou@gmail.com.<>заказ статьи ваккак определить тиц
See Terry Johnson’sThe History of Psalm Singing in the Church; I depended heavily on that article for the quotes on this paragraph (back)
Luther, Martin. Tischreden. No. 2545. Quoted in F. Blume et al., Protestant Church Music (New York: W.W. Norton and Company, Inc., 1974 (back)
There is not a square inch in the whole domain of our human existence over which Christ, who is Sovereign over all, does not cry, ‘Mine!’Abraham Kuyper
