A Biblical “Tune-up” for Hymn Singing

Hymn singing reflects our spiritual vitality and response to God’s grace.

Scripture abounds with references to music. In the Old Testament, music is richly woven into the fabric of folk life, and it assumes special spiritual significance in temple worship. The Psalms record the poetic prayer and praise of Jewish worship, and remain a beautiful source for Christian song. The New Testament alludes briefly to music in the Gospels, Acts, and Epistles, and the Book of the Revelation vibrates with a great eternal psalm to the sovereign Creator-Redeemer-Lord.

But the Bible nowhere gives us a carefully reasoned discourse on the use of music in worship. For that matter, there is little systematic discussion of the content and procedure of corporate Christian worship. An examination of the Scriptures reveals that only for certain aspects of music in worship do we have direct biblical authority: its motivation, purpose, and tone. Stated simply, the Bible gives us the spiritual “why” and “how” of music in worship; it does not give us the musical or stylistic “what.”

We want here to examine two New Testament instructions for hymn singing: Ephesians 5:15–20 and Colossians 3:12–17. Both passages deal with some aspect of Christian conduct—the practical expression of doctrines the apostle Paul set forth in the earlier chapters of each epistle.

Ephesians 5

In this chapter, Paul encourages believers to live as children of light, with all the fruits and graces of the Holy Spirit. They must make the most of every opportunity because the days are evil, and “understand what the Lord’s will is.” They are not to get drunk with wine, but instead be filled with the Spirit.

The apostle’s musical exhortation follows in verses 19 and 20: “Speak to one another with psalms, hymns and spiritual songs. Sing and make music in your heart to the Lord, always giving thanks to God the Father for everything, in the name of our Lord Jesus Christ” (NIV). Paul here encourages believers to communicate spiritually with each other in poetic and musical modes—probably in settings that were spoken as well as sung. Christians might well ask whether they recognize today that poetic and musical communication may be inspired by the Holy Spirit, and may be one evidence of the Spirit’s filling in a believer. The context of this verse seems to support such a view.

The Greek text uses three different terms for “psalms, hymns and spiritual songs.” Their meanings and uses overlap, however, so no distinction should be pressed too far. Psalmon (“psalm”) means a song of praise, originally with plucked instrumental accompaniment. It may refer to the Old Testament Psalms, but the Greek term does not specifically say so. Similarly, humnon (“hymn”) signifies a song of praise, but its use suggests no precise kind of text or music. It may refer to hymns and doxologies that enhance the Gospels and Epistles.

The Greek for “spiritual song” is pneumatikos ōdē, an ode or lyric voicing spiritual adoration and aspiration, perhaps even personal testimony or exhortation. In Greek culture the ode demonstrated nobility of feeling and dignity of style. Poetically gifted believers may have composed and sung spiritual odes. These may have been spontaneous lyric effusions, and the term may imply both solo and corporate musical expressions.

The three terms for “psalms, hymns and spiritual songs” have one important trait in common: they connote upward praise and adoration of God in Christ for who he is and what he has done. And this praise includes minimal personal reference. How wholesome and exhilarating is this objectivity of focus upon God!

The verb “sing” in verse 19 means to “sing an ode”; to “make music” (or melody) literally means to “psalm.” Perhaps Paul here uses “odeing” for the lyrics and “psalming” for the tune. In any case, he indicates that the song should involve both larynx and heart; in other words, the entire personality. Singing is both an outward act and an inward disposition, and the focus of our song is upward worship of the Lord. This singing to the Lord also becomes communication with one another: our praise of God can and should edify our fellow believers.

The paragraph concludes with a favorite Pauline thrust: “… always giving thanks to God the Father for everything, in the name of our Lord Jesus Christ.” The Greek for “giving thanks,” eucharisteō, suggests gratitude for grace bestowed. The same word describes Jesus’ giving of thanks as he instituted the Lord’s Supper, the Eucharist. The whole motive, mood, theme, and aim of Christian song is gratitude, thanksgiving to God.

One further observation: Paul implies a comparison of alcoholic and spiritual “intoxication.” Both wine and the Spirit bring joy: the one synthetic and temporary, the other real, permanent, and progressive. Both impart a sense of release and freedom: one spasmodic, the other lasting. Both release the tongue and stimulate communication. While drunkenness often induces profane or obscene singing, spiritual renewal inspires believers to holy hallelujahs of joy and gratitude.

Colossians 3

Like the Ephesian passage, Paul discusses hymn singing in Colossians 3:12–17 after an opening doctrinal discourse. The context for his specific exhortation in verse 16 regarding hymn singing is the whole chain of Christian graces to be found among God’s chosen people and especially their culmination in love, unity, peace, and thankfulness. What a setting for musical advice! Imagine what a mutuality of these graces among believers could do for the music in our churches!

Verse 16 begins: “Let the word of Christ dwell in you richly as you teach and counsel one another with all wisdom …” The results of the rich indwelling Word are teaching and counseling. The teaching perhaps involves mainly doctrinal content, and the counseling, practical exhortation.

Paul goes on to translate this wise teaching and counseling into musical expression. Here the NIV and RSV read: “… and as you sing psalms, hymns and spiritual songs with gratitude |‘thanksgiving.’ RSV | in your hearts to God.” This makes the clause parallel to “as you teach and counsel” and both clauses signify ways through which the indwelling word may be expressed. The ASV, however, renders the passage, “Let the word of Christ dwell in you richly; in all wisdom teaching and admonishing one another with psalms and hymns and spiritual songs, singing with grace in your hearts unto God.” This suggests a closer connection between teaching-counseling on one hand and singing on the other; as a musician, I naturally prefer this translation. In any case, the context implies a close connection and Paul’s parallel paragraph in Ephesians verifies it. Here is doctrinal teaching and spiritual counseling in song.

The major ideas of verse 16 are (1) the rich indwelling of the Word of Christ: and (2) the teaching, counseling, and singing. Which is cause and which effect? The most obvious answer seems to be that the rich indwelling Word produces teaching and singing. But a complementary interpretation is also possible: Teaching-counseling with wisdom and singing with gratitude are natural ways to let the Word indwell us richly.

Reflecting upon this great passage raises some searching questions about the contemporary use of hymns: How faithful to the Word is a particular hymn? How richly indwelt by the Word am I as a hymn singer or accompanist? How fully does a certain gospel song reflect the Word or my response to the Word? Should the church consider using hymns for doctrinal instruction or spiritual encouragement of the young, and for newborn believers? Is this expecting too much of a hymn?

In verse 17 Paul summarizes his thought in one comprehensive ethical principle: Do all on the basis of your relationship to God through Christ, with thanksgiving. For the third time in three verses the apostle emphasizes gratitude to God. We are moved again to ask certain personal questions: Does this hymn or gospel song text reflect a scriptural understanding of God’s grace and my Christian response of gratitude? Am I singing (in the congregation, choir, or as soloist) with genuine thanks, based on a fresh, daily appropriation of God’s grace? Should one of the qualifications for church musicians (choirs, choir directors, organists, soloists) be a thankful spirit? What would an attitude of grace and gratitude do for the music problems in our churches?

Common Emphases

Paul’s two paragraphs on hymn singing emphasize four basic points. First, hymn singing has a twofold inspiration: the believer’s continuous filling by the Holy Spirit and the rich indwelling of the Word in his heart.

Second, Paul discusses the attitude and motivation of the singers and the spiritual content of their hymns, but he says nothing about musical styles, forms, or accompaniment. It is important, especially for professional musicians, to remember that we have no inspired scriptural revelation regarding the music itself, which is largely affected by changing culture and history.

But the biblical emphasis on the spiritual motivation, content, and purpose of hymn singing does not give us carte blanche for any musical style desired. The first step—perhaps the most important—toward appropriate musical style is to fulfill the biblical and doctrinal criteria for worthy hymn texts and “focus” in worship and teaching. To do this is to go a long way toward choosing hymn tunes that enhance their texts. Moreover, believers who are biblically informed and spiritually committed will be open to new musical ideas. They will feel freer to communicate with each other regarding appropriate musical taste and style.

Third, Paul sees hymn singing primarily as joyous, thankful response to God’s grace; its basic movement is upward praise to God. Only secondarily does it flow outward to fellow believers for edification.

Fourth, one feels in these verses a kind of “musical koinonia,” a sense of sharing and active participation by the congregation. The privilege of singing belongs to the whole Christian community, not an elite few.

The brevity of these passages may suggest that the early church had no great problems with singing. Paul’s musical advice seems to apply equally to full church or small group meetings and family devotions, with hymn singing a natural expression of Spirit-filled living in all settings.

The New Testament contains many majestic and sub lime passages that are poetic in form and content. These, along with the Old Testament psalms and the many references to music in the temple, show that singing and musical performance were an integral part of the life of Israel and of the early church. We can learn to make the kind of music that is inspired by the Spirit and the Word, and directed upward to God in grateful response to his grace.

Carl F. H. Henry, first editor of Christianity Today, is lecturer at large for World Vision International. An author of many books, he lives in Arlington, Virginia.

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