Professional Documents
Culture Documents
SPIRITUAL SONGS
A music ministry philosophy for the South
African Evangelical church
Jeremy G. Koeries
INTRODUCTION 2
PART 1: THE NEED FOR A NEW MUSIC MINISTRY PHILOSOPHY 4
Chapter 1: Contemporary Models 4
Chapter 2: Traditional Models 5
The "Hymns only" position 5
The "Exclusive psalmody" position 6
The "Anti-instrumental" position 6
Chapter 3: Pentecostal Models 7
Chapter 4: Charismatic Models 7
Chapter 5: Indigenous Models 8
Chapter 6: Blended-Worship Models 9
In the South African (SA) evangelical church, music ministry requires more than just a Bible-
based mission statement and a cease-fire amidst the “worship wars”. It is my contention that:
• Music ministry generally lacks pastoral oversight and theological depth;
• Music ministry is based more on tradition or popular influence than contextualised
expressions of worship derived from Biblical principles;
• Historical reality has left huge cultural divisions. The multicultural nature of the church
provides a diversity of musical styles to draw from, yet this rich source has neither been
fully appreciated or utilised across the divides as expressions of diversity and means of
reconciliation;
• A great need for new, original, locally-composed, contextualised, theologically-balanced
songs of worship exists;
• The philosophy of creating a corporate worship service based on musical style and
preference (e.g. services with hymns only or contemporary choruses only) is a man-
centered approach which is dividing the Church of Christ and hindering spiritual maturity
across the generations;
• An understanding of the role of Psalms, Hymns and Spiritual Songs as unique, essential
forms of musical expression in corporate worship is lacking;
In response to these problems, the four-fold purpose of this research essay will be:
1. To prove the need for a reviewed music ministry philosophy;
2. To define clearly the Biblical purpose and significance of music in corporate worship;
3. To develop a music ministry philosophy based on a careful Bible survey with special
reference to Paul’s admonitions to singing psalms, hymns and spiritual songs;
4. To apply such a philosophy to the SA local church context.
This essay will seek to prove the hypothesis that a music ministry philosophy which
incorporates the use of psalms, hymns and spiritual songs as distinct, but equally necessary
worship music forms, is most faithful to Scripture and most useful for the spiritual formation and
edification of every member of the Body of Christ in SA. The research methodology used in this
essay includes a national survey conducted through personal interviews and a questionnaire2 . .
2
see APPENDIX A: CHURCH MUSIC MINISTRY SURVEY
PART 1: THE NEED FOR A “NEW”3 MUSIC MINISTRY PHILOSOPHY
This section highlights the weaknesses and concerns prevalent in popular music ministry
philosophies (models). As a result, the need to revisit and thoroughly re-examine present day
models will emerge.
Chapter 1: “Contemporary” Models
Bob Kauflin raises the following concerns regarding the modern worship music movement.
“1.1. We can tend to think that worship is equivalent to music.
1.2. We can tend to think that because we listen to worship music, we
must be worshippers.
1.3. There can be a temptation to think that worship is somehow “new”
or has finally become “genuine.”
1.4. Many songs focus almost exclusively on the subjective side of our
relationship with God.
1.5. Musicians can become our primary theologians.” (Kauflin 2003:3)
These concerns also constitute the underlying assumptions of most contemporary music models.
They highlight some serious theological imbalances and weaknesses, as well as historical
misconceptions. These and other concerns will be thoroughly addressed throughout this essay.
But as a brief preliminary response, it would suffice to say that: Music is not worship, it is
simply a means of expressing worship. Worship is an act, not an atmosphere, so that one cannot
be a passive worshipper. Contemporary styles of congregational worship and music are not
necessarily newer or more authentic than others. There remains a need for songs that focus on
both the subjective (“what I feel about God”) and objective (“what Scripture teaches about
God”) apects of our relationship with God. The church needs to sing songs that are both
theologically sound and musically palatable. This will require a re-awakening of the long lost
working relationship between theologians as lyricists, and musicians as composers, in the effort
to compose appropriate words and music for congregational singing (Payne 1999:109 - 115).
Cultural Value
Genesis 31:27 gives us further insight into the cultural value of music and song. Music was often
used to enhance special occassions by creating an atmosphere of joyful celebration. Such events
in the lives of the ancients, though not necessarily religious in nature, were public events, such as
farewell celebrations. Music comprised singing with the accompaniment of tambourines and
harps.
7.2.4. Translations
Colossians 3:16
VERBATIM FROM GREEK: The word of Christ dwell / live / reside in / among you richly /
abundantly in all wisdom, teaching / instructing and counselling / advising / warning / admonishing
yourselves [or one another (reciprocal pro.)], with / in psalms, hymns, songs spiritual, with / by /
beacause of grace / gratitude / thankfulness singing with the heart of you to God
SMOOTH: (Let) the word of Christ dwell in you abundantly in all wisdom teaching and warning
one another with psalms, hymns and spiritual songs, with gratitude singing with your heart to
God.
Ephesians 5:19
VERBATIM FROM GREEK: speaking to yourselves (reflexive pron.) [or one another
(reciprocal pro.)] in [or with (prep)], psalms, hymns and songs spiritual, singing and singing
praise / making melody / playing music in [or with (prep)] the heart of you to the lord.
SMOOTH: speaking to one another with psalms, hymns and spiritual songs, making music with
your heart to the lord.
[Greek Text: Aland K, et al (ed.) 1983; English translation of Greek: Aland K, et al (ed.):1-203,
Graham 1997:470ff and King 1998:275ff]
7.2.6. Meaning
These verses become the apex of the Paul’s ethical exhortations. In the light of Christ’s eternal
supremacy and purpose, and the church’s relationship with and position in him, the church is
commanded to be filled with God’s Word and God’s Spirit. The results of the indwelling of Word
and Spirit is the outflow of corporate praise and worship in song and music. These songs should
come in different forms. Some of these songs are of Jewish origin and contain the direct words of
Scripture, in this case the OT psalms (“Psalms”) and are accompanied by instruments. Others are
new “Gentile” compositions following the Greek structure of hymnody, and are directed to God
or Christ (“Hymns”). Others are less structured, spontaneous songs, sung as prompted by the
Holy Spirit (“Spiritual songs”). All must be done in order to teach, exhort and encourage one
another in corporate worship, with heartfelt thankfulness and praise to God.
4
A popular Zulu hymn-book meaning “The Gospel Trumpet” (Wetmore 2006).
9.3. Coloured and Indian Churches
Function: The opportunity to use gifts and talents for God and create an atmosphere
Forms: Modern worship songs; traditional choruses; very few hymns
Features: Most churches have worship music teams and bands; music plays a vital part of the
service; These churches generally appear to be charismatic / Pentecostal in their musical
expression and song selection; Musicians typically emphaisize skill without formal training
Challenges: Hymns are hardly sung; modern worship songs are employed uncritically
Chapter 10: Psalms, Hymns and Spiritual Songs Today: Applying the Philosophy
In this chapter, the philosophy developed in Chapter 8 will be applied to the setting described in
Chapter 9. The following areas regarding SA church music ministy require specific application:
Psalms: Musical accompaniment in worship is taught in both the OT and NT. Scripture should
be sung. These may include singing OT Psalms, or new songs with the same, diverse Biblical
themes as OT psalms. Current songs have a painfully limited thematic range.
Hymns: This essay has not included a study in hymnology7. Neither has it defined hymns
exclusively as the form of music usually associated with Evangelical composers such as Charles
Wesley, Isaac Watts, Fanny Crosby and more recently Stuart Townend and Keith Getty. Their
compositions certainly fit the humnos genre discussed in our exegesis because of the typical
metrical, grammatical and theological structure of these songs (see Appendix B). But in this
paper, the humnos principle also refers to locally penned, indigenous, culturally relevant
expressions of praise. That Christian young people are not encouraged to sing songs to Christ
which have a hymn-like format is inexcusable. Why? Because this structure has a unique way of
driving home the message of the song. Similarly, South African Christians from one culture who
are never exposed to locally composed expressions of praise - whether from their own culture or
not - fail to appreciate the human creativity resident in local believers, which reflects God’s image
5
Forms of rhythmic, jubilant dancing. In Koordans the entire congregation moves rhythmically in a circular procession.
6
Traditional Afrikaans praise choruses of Pentecostal origin
7
Hymnology is a technical term which refers to the systematic study of the history and use of hymns
and glory. It also makes the journey to cultural reconciliation in the SA church unnecessarily
longer. Our studies of Colossians and Ephesians reveal that Jewish-styled psalms and Gentile-
type hymns were encouraged in churches which comprised both Jews and Gentiles. In Christ,
South African believers are called to move out of their comfort zones toward acceptance and
mutual encouragement of each other through song. On a practical note, theologically sound songs
sung in another language may include printed or projected translations in a known language, so
that worshippers can “sing with the understanding” (1 Cor 14:15). This fact, along with exposure
to new musical sounds and contexts will break the mould of meaningless worship which many of
our services remain trapped in. The strong pastoral and teaching component of this model would
avoid the “blended-worship” pitfall of simply doing multi-cultural songs for the sake of it.
Believers will be taught that singing songs of a wide ethnic and generational variety will prove
(and improve!) their Christian tolerance (Rom 14) of those who prefer different music styles,
thereby releasing each generation from slavish submission to their own musical preference
(Pritchard 2006). This spiritually healthy attitude moves the Church toward corporate unity and
maturity (Jn 17; Eph 4) [Wetmore 2006]. The “hymn” principle includes new and old songs. The
idea that hymns are old is a fallacy, as is the notion that certain instruments are only suited for
certain styles, such as the organ for hymns, and the full rhythm section for modern songs.
Development of musical skills would empower musicians to master songs with hymn-like meter!
Spiritual Songs: Many of our Evangelical churches could do with some spontaneity, without
necessarily becoming overtly “charismatic”. One traditional Reformed Evangelical church
encourages spontaneous outbursts of fitting songs at appropriate times between petitions at
corporate prayer meetings. In other cases, people are encouraged to bear spontaneous testimony
by way of song in worship services. Here, short choruses or segments of hymns will mostly be
sung, because these can more more easily be memorised and recalled spontaneously - a fact that
highlights the significance of this type of song.
This model has proposed the blending of Biblical theology, culture, tradition and music rather
than simply blending various styles of worship music. This model proposes a radical rejection of
the “either / or” philosophies introduced in Part 1, while espousing the usage of psalms, hymns
and spiritual songs across cultures, generations, denominations and theologies. This “proudly
South African” music ministry model will achieve this one glorious goal: “Music is deep in the
human soul, part of our identity. So is our faith in Jesus Christ. We must worship in spirit and in
truth, deep in our innermost beings, where both music and faith reside” (Wetmore 2006).
APPENDIX A
PERSONAL QUESTIONS
1. What is the purpose of music ministry in the local church?
2. Can congregational worship be limited to other forms (e.g. Scripture readings, public
prayers etc.), or must it include music and song?
4. Is it helpful to have multiple services in one congregation, each with a distinct music
style (e.g. ‘traditional services’ with hymns, ‘youth services’ with modern worship songs,
‘family services’ with a combination)? Give reasons why or why not.
5. What is the difference between a hymn and a modern worship song / chorus?
2. Select the style of your church’s regular music ministry. Please check the relevant box.
Multiple services - each with a distinct music style q Hymns only q Choruses only q
Mostly hymns, some choruses q Mostly choruses, some hymns q
Mostly choruses, occasional hymns q Good balance of hymns & choruses q
3. Does your church sing worship songs / hymns composed within your church?
Yes q No q Sometimes q Unsure q
4. Does your church sing songs in more than one language, South African or other?
Always q Often q Sometimes q Seldom q Never q
Language(s) ...................................................................................................................................
5. How do the following age-groups generally feel about your church’s music ministry?
Children....... Teens....... Young adults......... Adults............ Seniors...........
Rating scale: 5=Very Happy; 4=Happy; 3=Tolerant; 2=Frustrated; 1=Unhappy; 0=Unknown
6. How would you describe your church theologically? Please check the box.
Evangelical q Reformed q Pentecostal q Charismatic q Other............................. Unsure q
check more than one option if necessary
WHAT IS A HYMN?
The survey reveals that most Evangelicals are unable to clearly define the difference between
hymns and choruses. A discussion of the literary aspects of hymns (form, rhyme scheme,
metrical pattern and poetry) makes the distinction clear.
Rhyme Scheme:
Rhyming patterns of individual verses of poetry which recur regularly within a single stanzas.
Metrical Pattern:
Metre refers to the number of syllables per individual verse of poetry. It is the aspect of poetry
which, like music, has a distinct rhythm based on strong and weak accents or beats, forming a
metrical pattern8 . The accents generally follow the natural accents of common pronunciation.
These accents are then grouped into larger units called metrical feet. The poetic rhythm contained
in a metrical pattern is determined by the number and length of feet in a line. In this example, bold
type indicates strong syllables, forming a metrical foot when grouped on each line:
O for a thous-and tongues to sing
my great Re-deem-er's praise,
the glo-ries of my God and King,
the tri-umphs of his grace!
Poetry
Hymns make use of certain poetic devices common to classical poetry, such as hyperbole (“O for
a thousand tongues to sing”), anadiplosis (using words / ideas ending one stanza as the start of
the next stanza), alliteration, anaphora (repetition of the same word at the beginning of
successive lines), paradox (“Make me a captive, Lord, and then I shall be free”), antithesis,
personification, simile, metaphor, tautology (repetition of the same thought in a slightly different
way, climax (“...Love so amazing, so divine, demands my soul, my life, my all”).
[Adapted from: Hymn Mechanics II:Literary Aspects of a Hymn (2001 Smith Creek Music)]
BIBLIOGRAPHY
8
When contemporary bands play hymns in a worship service, the rhythm section must let the hymn’s metrical pattern
determine the position of the stressed bass beat (and ocassional cymbal) in the musical bar. A brief interlude should also
be inserted by the rhythm section between stanzas so as to clearly define the starting point of the next stanza for the
congregation. This will alleviate the awkward break between stanzas which exists when the hymn is not being led by the
organ, and the uncertain congregation hesitates to start the next stanza
Aland, K. 1983. The Greek New Testament. Stuttgart:UBS
Bruce, FF. 1961. The Epistle to the Ephesians. London: Pickering and Inglis
Cameron, H. 1978. “Purity of Worship” in Hold Fast Your Confession: Studies in Church
Principles in McLaughlin, R. 2006. Third Millennium Practical Theology
http://www.thirdmill.org/answers/answer.asp/file/99765.qna/category/pt/
page/questions/site/iiim. Accessed: March 2006
Chinchen, D. & Chinchen, P. 2002. Sing Africa in Evangelical Missions Quarterly, July 2002
vol 38, no. 3
Detwiler, DF. 2001. Church Music and Colossians 3:16 in Bibliotheca Sacra 158. Jul-Sep 2001.
Dunn, JDG. 1996. The Epistles to the Colossians and to Philemon: A Commentary on the Greek
Text (New International Greek Testament Commentary) Grand Rapids: Eerdmans
Fagan, BM. 2001. Iron Age in WorldBook Multimedia Encyclopedia 2001. Mac OSX Ed. 6.0.2
Fee, G 2001 in Detwiler, DF. Church Music and Colossians 3:16 Bibliotheca Sacra 158.
Goodrick, EW et al. (ed.). 1985. The NIV Handy Concordance Hodder & Stoughton: London
King, R.R. 2002. Telling God’s Story Through Song in Evangelical Missions Quarterly
Kittel, G et al 1975. Theological Dictionary of the New Testament, vol 8 Grand Rapids: Eerdmans
Longyear, RM. 2001. Music in WorldBook Multimedia Encyclopedia 2001. Mac OSX Ed. 6.0.2
Payne 1999 in McCall, S and Milne, R.1999. Church Musicians Handbook Kingsford: Matthias
Roy, KB. 2002. Zion City RSA: The Story of the Church in South Africa Cape Town: SABHS
Shawyer, R. Indigenous Worship Evangelical Missions Quarterly, July 2002 vol 38, no. 3.
Smith, W. 1884.”Psaltery” in Smith’s Bible Dictionary in Macsword 1.1.3a for Mac OSX.
Strong, J. 1890. Strong's Hebrew Bible Dictionary in Macsword 1.1.3a for Mac OSX.
Woodhouse in McCall, S and Milne, R.1999. Church Musicians Handbook Matthias: Kingsford