THE THEOLOGY AND PLACE OF MUSIC IN WORSHIP

The people of God sing. After escaping from the Egyptians and crossing the Red Sea, the people of Israel
sang a song to the Lord (Exod. 15). Singing was part of Israel's formal worship in both tabernacle and
temple (1 Chron. 6:31-32, 16:42). The Psalms bear rich testimony that in joy and sorrow, in praise and
lament, the faithful raise their voices in song to God. Hymn singing was practiced by Jesus and his
disciples (Matt. 26:30). The Apostle Paul instructed the Colossians, "Let the word of Christ dwell in you
richly; teach and admonish one another in all wisdom; and with gratitude in your hearts sing psalms,
hymns, and spiritual songs to God. And whatever you do, in word or deed, do everything in the name of
the Lord Jesus, giving thanks to God the Father through him" (Col. 3: 16-17).

Music and song continue to play a vital role in the life of God s people today. Contemporary culture and
modern technology bring new possibilities and new challenges to the music ministry of the church.
People's lives are surrounded with music—television and radio, the background music of video games,
the muzak of shopping malls, CDs, and synthesizers. Yet much of the time music functions as
"background" rather than as an opportunity for serious listening, much less participation. Outside the
church there are few occasions or opportunities in North American culture for people to sing together.
Much of the popular music (including popular Christian music) composed today is for performance
rather than for participation.

The church also has greater access and has shown greater openness to a greater variety of music—from
classical hymnody to Christian rock, from European cantatas to South African choruses. Such diversity is
to be welcomed and celebrated; it reflects the diversity and richness of God s creation. But greater
variety and options in music call for greater discernment and care in planning and implementing the
music ministry of the church. The people of God sing; what they sing and how they sing are important
issues.

In order to further the dialogue in the RCA about music and worship, and to encourage healthy and
vibrant congregational singing as a vital part of ministry, this paper offers some reflections on the
theology and place of music in Christian worship. The paper closes with some suggested guidelines for
evaluating and selecting music for the congregation's worship.

Music is a gift of God and part of the created order. From its inception, "when the morning stars sang
together and all the heavenly beings shouted for joy" (Job 38:7), to its consummation, when "every
creature in heaven and on earth and under the earth and in the sea, and all that is in them" will sing to
the Lamb on the throne (Rev. 5:13), creation is musical. "All nature sings and round me rings the music of
the spheres."1 Human music-making participates in the music of creation and reflects the order, beauty,
and diversity of God s creation.

Of all the musical instruments that may be employed in the praise of God, the human voice has priority.
Other instruments are to be used primarily in the service of the singing of God's people. Reformed
theologian Karl Barth points out that singing is not an option for the people of God; it is one of the
essential ministries of the church:

The Christian church sings. It is not a choral society. Its singing is not a concert. But from inner, material
necessity it sings. Singing is the highest form of human expression....What we can and must say quite
confidently is that the church which does not sing is not the church. And where...it does not really sing
but sighs and mumbles spasmodically, shamefacedly and with an ill grace, it can be at best only a
troubled community which is not sure of its cause and of whose ministry and witness there can be no
great expectation....The praise of God which finds its concrete culmination in the singing of the
community is one of the indispensable forms of the ministry of the church.2

Singing is a ministry that belongs to all the people of God. The congregation is always the primary choir.
The role of professional or volunteer choirs and musicians is to aid the whole people of God in their
worship. While anthems or vocal and instrumental solos may be offered, they do not have to be.
Congregational singing, however, is essential. While it is possible to be actively engaged in worship and in
prayer while listening to an anthem or solo, a diet of worship which does not regularly include ample
opportunity for all the members of the congregation to join in song will be impoverished worship, and
the life of the church and the faith of its people will suffer.

Of all the art forms that may be employed in worship, singing is especially corporate. Indeed, it is the art
form most suited to expressing the church's unity in the body of Christ.3 Different voices, different
instruments, different parts are blended to offer a single, living, and unified work of beauty. John Calvin
recognized the power of congregational singing and unison prayer in helping the church express and
experience the unity of the body of Christ. Asserting that the human tongue was especially created to
proclaim the praise of God, both through singing and speaking, he noted that "the chief use of the
tongue is in public prayers, which are offered in the assembly of the believers, by which it comes about
that with one common voice, and as it were, with the same mouth, we all glorify God together,
worshiping him with one spirit and the same faith."4

The church's ministry of song is for the glory of God. The principal direction of congregational singing is
to the Lord (Ps. 96:1). Music is made first of all to the Lord and only secondarily to each other. Music
should communicate and express a sense of awe and wonder in the presence of God; it should lead our
thoughts toward God rather than toward ourselves.
God can be glorified by beautiful sounds and spirits may be uplifted by a pleasing melody, but it is
primarily the joining of the tune to a text that gives meaning to Christians' songs. Not only should both
text and tune glorify God and be consistent with each other, but the tune must serve the text. Music is
always the servant of the Word.5 Calvin cautioned that "we should be very careful that our ears be not
more attentive to the melody than our minds to the spiritual meaning of the words....[S]uch songs as
have been composed only for the sweetness and delight of the ear are unbecoming to the majesty of the
church and cannot but displease God in the highest degree."6

The church's ministry of song is for the edification of God's people. Through congregational singing
Christian faith is not only expressed; to a very real degree it is formed. Since people tend to remember
the theology they sing more than the theology that is preached, a congregation's repertoire of hymnody
is often of critical importance in shaping the faith of its people. Here again, it is the meaning of the text
that is of primary importance. It is through the sense of the words that God s people learn of the nature
and character of God and of the Christian life. Noting that if one prays in a tongue, the "spirit prays," but
the "mind is unfruitful," the Apostle Paul vows, "I will sing with the spirit and I will sing with the mind
also" (1 Cor. 14:14-15, RSV).

Christian hymnody contains some of the most tightly packed, concise doctrinal and devotional thought
of the church.7 Through congregationl song God's people learn their language about God; God's people
learn how to speak with God. Songs of worship shape faith. It is, therefore, very important that a
congregation have a rich "vocabulary of praise." Simple, repetitive music such as praise choruses and
Taize chants are very appropriate in worship and can be very effective in moving individuals to prayer
and to praise. But it is also important for the congregation to know some of the great hymns of faith in
order to have a sense that the Christian faith is both relevant and enduring, and to be enriched by the
faith of the "great cloud of witnesses." Hymns, both ancient and modern, which stretch minds, increase
vocabulary, rehearse the biblical story, and teach of the nature and the mighty acts of God are essential
for the congregation s growth in faith.

The emotional power of music, rightly employed, is a vital and moving aid to worship. Music, quite apart
from an associated text, is capable of evoking powerful emotions. Hearts are stirred and feet set to
tapping by a rousing Sousa march, while another melody may move people to tears. Calvin recognized
the emotional power of music and for that reason included the singing (rather than the saying) of Psalms
in the church in Geneva. Such singing "lends dignity and grace to sacred actions and has the greatest
value in kindling our heart to a true zeal and eagerness to pray."8 Music can indeed "excite piety," and
depending on its mood, move individuals to penitence, thanksgiving, adoration, love, or any one of a
host of emotions. Those who love the Lord are encouraged to "sing till we feel our hearts ascending with
our tongues."9 It is, therefore, important that the emotional mood of a particular tune be
commensurate with the sense of the text. It is also important that the emotional power of music in
worship be evocative rather than manipulative, honest rather than manufactured, and that the
congregation's singing allow for the full range of emotions in worship.