Generally, there are differences among the Reformed believers as what and how to sing during their worships. Some would only sing metrical psalms; others would also include hymns in the list. But most would reject the idea of singing songs during worships. Some would not allow any musical instrument during worship; others would permit the usage of piano or electric organ. Most would not allow the usage of an electric band or a key board that will perform like an electric band during worship. Most of the RB churches in Malaysia would only sing psalms and hymns, but no songs, and would allow only piano or electric organ, during worships. All these dos and don’ts, as each has claimed, are based on the regulative principle of worship. Then each has also claimed that they are more reformed than the others. This is yet another striking example of human doctrine divides.
Urgently, we do need to bring all our differences to the scripture to reexamine ourselves. We must do so together with the reading of the history on Christian music. It is important that we must be well informed both by the scripture and the history on Christian music if we wish to establish a sound and strong theology on Christian worship. We must look at the issue with a collective effort and with our eyes focusing on the gospel ministry that God has given to us.
It is easy for us to sweepingly conclude that RB churches should sing hymns and nothing else. It is also very naïve for us to go ahead with hymns and songs without a careful search of the scripture and history. We must talk to one another with reconciliation to the scripture in mind and not talking behind one another with a readiness to go each on our own way. We are like swimmers who are taking part in a team event in an open sea swimming competition that requires all to reach the destination together, and no one should be left behind.
A quick survey on hymns, psalms, songs with string instrument and ode:
Hymns:
Originally, the word “hymn” means a poem composed as a song of praise for the gods or heroes. Christians had adopted the word and used the hymns as songs of praise to God the Father of the Lord Jesus Christ.
Mat.26.30; Mk.14.26
1. We are informed that after the supper, when the Lord and the 11 disciples “had sung a hymn, they went out to the Mount of Olives.”
2. This was a Jewish poem and it was probably written in Aramaic.
3. We do not know about the content of the hymn that was sung and how it was sung. We can only conclude that songs were composed for the purpose of worship before the Christian church was founded.
Acts 16.25
1. It was at Philippi that both Paul and Silas were punished and put into the prison, “But at midnight Paul and Silas were praying and singing hymns to God”.
2. We can only conclude they had sung hymns in the prison, but we have no way to find out about the content of these songs and in what manner they sang them. These songs were probably sung in Greek, because Paul was called to minister to the Gentiles and Silas was a Greek, and because the prisoners understood what they were singing.
Hebrews 2.12
1. The letter to the Hebrews quoted the Septuagint version of Psalm 22.22 to highlight the supremacy of Christ, “I will declare your name to my brethren, in the midst of the assembly I will hymn to you.”
2. In the context of Psalm 22 we can be sure about the content of the hymn.
Psalms
Paul mentioned specifically the book of Psalms both in Ephesians 5.19-20 and Colossians 3.16-17 and that believers should use them for teaching and worship.
Songs with string instrument
These songs probably overlapped with the book of Psalms, and they constituted a different type of songs.
Romans 15.9
1. Paul had quoted both from the Septuagint version of 2 Sam.22.50 and Psalm 18.49 to establish that the gospel is also for the Gentiles; “and that Gentiles might glorify God for His mercy, as it is written: For this reason I will confess to you among the Gentiles, and sing with a psaltery to your name.”
2. The verb “to sing’ derives from the Greek word “psalo” which means a song that was sung with the accompaniment of a psaltery or a string musical instrument. In the Jewish context this may refer to the singing of Psalms. The word psalm and the verb “psalo” share the same root in Greek. In the context of the Gentiles this may refer to any song that was composed to be sung with a string instrument. It is probably quite similar to the singing that was performed by Cacofonix in “The Adventures of Asterix the Gaul”.
1 Corinthians 14.15
1. In his concluding remark concerning speaking in tongue, Paul said that, “I will pray with spirit, and I will also pray with the understanding. I will sing with the spirit, and I will also sing with the understanding.”
2. The verb “to sing” is “psalo” and singing with a string instrument is implied. Such singing was performed in the spirit and with the understanding.
James 5.13
1. James instructed the church that “Is anyone among you suffering? Let him pray. Is anyone cheerful? Let him psalleto”
2. The verb “psalleto” shows that the believers were instructed to sing songs that were composed for singing with a psaltery or a string instrument.
Ode
These songs are classified as ode and these are the only songs that are called spiritual.
Ephesians 5.19-20
1. In the context of Christian walk, Paul instructed the believers to sing, particularly in contrast to drunkenness. “Speaking to another in psalms and hymns and spiritual songs, singing and playing psaltery in your heart to the Lord, giving thanks always for all things to God the Father in the name of the Lord Jesus Christ.”
2. It is a three folds instruction. First, the believers were to speak to another, not limited to one type of song, but in all three types of songs, namely, psalms from the Old Testament, hymns that were composed as songs of praise to God, and ode that expressed spiritual meaning and believers’ spiritual experience. Secondly, the believers were to sing ode and to make music with psaltery in their hearts to the Lord. Thirdly, they were to give thanks to God.
Colossians 3.16-17
1. In the context of living a new life, Paul instructed the church to “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. …giving thanks to God the Father through Him.”
2. The church was instructed to let the word of Christ dwell in her richly in all wisdom, by teaching and admonishing one another with the word, by singing all three types of songs that reflect the teaching of the word of Christ, and by giving thanks to God the Father through Christ.
Revelation
1. John has recorded an ode that he heard in his vision, “and they sang a new song, saying: You are worthy to take the scroll, and to open its seal, for you were slain, and have redeemed us to God by your blood out of every tribe and tongue and people and nation, and have made us kings and priest to our God; and we shall reign on the earth.” (5.9-10)
2. John also informed the churches about a new ode he heard from the one hundred and forty four thousand (14.1-3).
3. The ode of Moses and the Lamb was recorded by John, “Great and marvelous are your works, Lord God almighty! Just and true are your ways, O King of the saints! Who shall not fear you, O Lord, and glorify your name? For you alone are holy. For all nations shall come and worship before you, for your judgments have been manifested.” (15.3-4)
Observation:
1. There were four types of songs used by the early believers, though we may not know exactly the content of these songs and the manner in which these songs were sung. We can be sure that the early churches did not limit themselves to just a narrow choice, but instead they had a rich variety of songs.
2. From the context of the spreading of the gospel from a Jewish culture to a Roma-Greco culture, there appears a pattern of contextualization of using the same gospel truth to compose songs for worship. Different cultures had also influenced the manner in which these songs were sung in the early churches. The Jews had their psaltery and the Gentiles had their string instruments. There was a lively expression of the gospel truth in these different cultures. There is no evidence of imposing of a Jewish culture on the Roma-Greco culture or vice versa.
3. These songs had a three folds function. First, these songs were composed to be sung to one another for the purpose of mutual encouragement and for instruction. Secondly, these songs were also songs of praise to God the Father. Thirdly, these songs were songs for thanksgiving. Apparently, believers today have lost the first practice.
A very brief note on the history of Christian music:
1. In the first 100 years the early believers had three types of songs. They used psalms and songs accompanied by psaltery and string instruments, hymns, and ode for instruction and mutual encouragement and worship of God.
2. From the second century till the 15th century, the church was divided into Eastern Orthodox and Roman Catholics on the West. Greek and Slavic culture were dominant with the Eastern Orthodox Church and Latin culture was at the center of the Roman Catholics. Chanting was the common practice among the believers from these two denominations. Later antiphonal singing was introduced in both East and West.
3. After the Reformation at the 15th century, metrical psalms were introduced in the Anglican Church in Britain. At this time believers were not encouraged to use hymns for the reasons that they were not taken directly from the scriptures.
4. During the 16th century, man like Isaac Watts popularized the usage of hymns in public worship and private devotion. At this time the German Chorale was widely used in the Lutheran churches.
5. Later, in the 17th century, the Wesleyan brothers written and introduced many great singing of hymns.
6. Then in the 18th and 19th century, the Salvation Army movement and people like Dwight Lyman and Ira David Sankey brought into the church the Victorian hymns and gospel hymns.
7. Following that, the African Spirituals gradually spreading its influence on the development of Christian music until today.
8. When Christianity came to different parts of the world and it took on the local cultures quickly and adopted the local music and expression when the believers composed their own songs. Today, the Coptic Church in the Middle East has her own songs in worship. The Churches in India, though influenced by the Anglican Church, has her own song expression. The churches in Africa have their own method of worship. The Churches in China, though with the help of the English speaking churches from the West, has her own song version. All the churches in South East Asia have their own songs in their own languages and music to enable them worship the Lord.
Conclusion:
1. From the study of both the scripture and the history of Christian music, it is clear that we have inherited a rich heritage of Christian music and songs for the enrichment of our worship and devotion today. We should be thankful that by the providence of God so many good hymns and songs have passed down to us. Our own Christian practice and our own ethnic culture have been enriched by this heritage which was a product of different cultures and spiritual experiences.
2. From both the scripture and the history of Christian music, we witness a dynamic development of Christian hymns and songs. We can observe at each generation how Christian song writers and musicians had produced songs to help believers to express their belief and their spiritual experiences. They gave the believers songs written with a pictorial language that the contemporary believers could identify and use for their worship and devotion in a meaningful manner. Most of the hymns that we are using were composed after the 16th century.
3. From both the scripture and the history of Christian music, we should take heed to the calling for us to seriously consider taking up the challenge to write songs and music for the current generation of believers. We are given the opportunity to shape the development of Christian music by sharing our knowledge and spiritual experiences. We are given the opportunity to produce songs and music that can help new believers to identify with the ancient truth and to express their spiritual experience with a language that they feel most comfortable.
