On Psalms, Hymns And Spiritual Songs
WORSHIP ARTICLE
Jeremy Woodman | Kingston, Ontario
There are few things in this world as precious as the sound of saints singing together in the assembly. In worship, it occupies a unique place. It is an expression of our emotions without the extreme of emotionalism. Singing is a form of teaching without the use of words alone. It combines elements of emotion and instruction to the praise and glory of God. We encounter the Song of Moses in Exodus, after the Hebrews were released from Egyptian bondage. The book of Revelation is filled with scenes of the heavenly hosts and saints in heaven singing. Emphasis on singing praise to God appears in the Bible from beginning to end, so we ought to carefully consider what God’s word has to say on this subject.
Two closely related verses are often referenced when discussing worship in song, “speaking to one another in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord” (Ephesians 5:19) and “let the word of Christ dwell in you richly in all wisdom, teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord” (Colossians 3:16). Much could be written about these two verses, but this article will focus specifically on the phrase “psalms, hymns and spiritual songs.”
If we are to “worship Him [God] in spirit and in truth” (John 4:24), then we ought to know what we sing and why. If we are to teach, we ought to know what we are teaching. What is a psalm and how does it differ from a hymn and/or a spiritual song? What makes for a good song? How can we get the most out of our singing, as individuals and as a congregation?
The first category, psalms, are the same as the ones we find in the Old Testament, most authored by David, but a fair number by the sons of Korah, Asaph, and a handful of other authors. As such they are inspired by the Holy Spirit. They were more than just writings though, many were set to music, though sadly we lack the original melodies.
As anyone who has ever had a tune stuck in their head can attest, songs aid memorization. The psalms were an excellent teaching tool for the Israelites and us. This lack of literacy and limited availability of printed material was why it was important that, “the lips of a priest should keep knowledge” (Malachi 2:6). The people relied on him to teach and apply the law. It is also why God through Moses commanded the people, “You shall teach [these words] diligently to your children, and shall talk of them when you sit in your house, when you walk by the way, when you lie down, and when you rise up” (Deuteronomy 6:7). Without constant reinforcement, the people were prone to forget.
A psalm appearing in a modern song book should be either a word-for-word quotation from Scripture or close paraphrase. Paraphrases might be necessary to modernize the language and accommodate the setting of the words to music. For example, there are multiple songs based on Psalm 23, The Lord’s My Shepherd. Some of these songs are word-for-word quotations, while others slightly modify the words to fit the tune. When we are singing a psalm, we can be confident that the word we are singing please God since He authored them.
What are hymns and spiritual songs? Both are songs with words that may not all be quotations from Scripture, but are consistent with its teachings and themes. From its usage in the Bible and historical sources, hymns appear to have more of a focus on praise to God.
The great advantage of hymns and spiritual songs is their ability to focus the audience’s attention on a singular concept and to create an atmosphere. Consider the song, Hear O Israel. It is based on Deuteronomy 6:4-5 (“you shall love the Lord thy God with all thy heart”) and Leviticus 19:18b (“you shall love your neighbour as thyself”) set to a somber tune with a cadence evocative of a people receiving the law at Sinai. It captures the gravity of the occasion and authority of the two commandments on which Jesus said, “hang all the law and the prophets” (Matthew 22:40). Consider another song, Tis Midnight and on Olive’s Brow. Without quoting Scripture verbatim, it references Jesus’s time in the garden of Gethsemane. It describes the event with poetry and literary device, the emotional anguish He suffered, how He was abandoned by His disciples, even the ones closest to Him. This makes it an excellent song to focus the mind before partaking of the communion bread and fruit of the vine.
However, we need to be cautious about hymns and spiritual songs. Creating an atmosphere can degenerate into a focus on entertainment. Primarily what makes a good song is how well it conforms to Scripture in word and thought. The melody of the song is of secondary importance and should supplement the singing. A catchy tune does not necessarily a good hymn make.
Hymns and spiritual songs can rely more on poetic licence, where certain liberties with language are permitted. This can be used to great effect or abused. Of the former, consider Isaac Watt’s When I Survey the Wondrous Cross. The third stanza starts with, “See from His head, His hands, His feet, Sorrow and love flow mingled down!” We know of course that sorrow and love are emotions that did not actually flow down while Jesus was on the cross. However, we also understand that the author is reflecting on what motivated Jesus to go to the cross and stay there. Here, poetic licence is used effectively and aids us in teaching one another.
At times, however, poetic licence can cross the line into fantasy, speculation, or downright doctrinal error. Some authors pen words that express concepts that go beyond, or worse contradict, the Scriptures. I am not going to name songs, but there are some songs that I cannot sing in good conscience. Some of these songs can be salvaged by omitting some of the verses. The point is we need to be careful about what we are singing. Generally, I think the compilers and editors of the songbooks the churches use do an outstanding job; however, on occasion a song is selected that should not have been. Do not assume because it is in a song book that it is error-free.
This reinforces the need for us to pay close attention to what we sing. Paul warned the Corinthians about improper conduct and a lack of reflection during the Lord’s Supper. They were failing to treat it with the respect it was due. We can do something similar in our singing if we do not pay attention to the words and reflect on their meaning. Our worship can become rote and our minds can wander to mundane things. Some modern songs that repeat a single phrase many times seem more prone to become the type of “vain repetition” (Matthew 6:7) Jesus spoke against, but it can happen to any.
How best to avoid this? Song leaders, try to pick a variety of songs and not lead the same ones too often. Pick ones that match the lesson or sermon topic, if known. Try to learn new songs as a group. A newly learned song may resonate with us in ways ones we’ve known for a long time may not. Last year, I learned O Sacred Head Now Wounded. One of its verses begins, “What language shall I borrow, to thank Thee dearest friend? For this Thy dying sorrow, Thy pity without end.” Certainly, many songs have conveyed the idea of our gratitude to Christ transcending language. However, this turn of phrase stuck in my mind and I found myself thinking about it for days afterward. That is one definition of effective teaching!
Another tactic is to ask oneself the question “how does this apply to me?” A couple years ago a visiting preacher was making a point about how we can lie in song. Lie in song? How? If we are singing I Want to Be a Worker for the Lord but we never share our faith and have no intention of doing so, or if we leave all the work to others, are we not declaring with our mouth something we know to be at odds with our actions and attitude? Are we not lying in song? Yet, if the song gets us to reflect on the quality of our work and where we may improve, then it has proven itself as an effective admonishment.
I leave you with a challenge: improve your singing. Improve your singing, not by focusing on the quality of your voice, but by paying greater attention to the words you are singing so the word of Christ may dwell richly in you. Through singing you may fulfill your obligation to teach and admonish yourself and your fellow Christians.
18.01.01 | GROW magazine
