PSALMS, HYMNS AND

SPIRITUAL SONGS
A music ministry philosophy for the South
African Evangelical church

A research paper submitted by

Jeremy G. Koeries

in partial fulfillment of the requirements

for the Bachelor of Theology degree

Supervisor: Dr R.E. Davis

Institution: Cape Town Baptist Seminary [http://www.ctbs.org.za]
Date: June 2006
CONTENTS PAGE

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

PART 2: BIBLICAL SURVEYS AND EXEGESES 11

Chapter 7: The Features, Function and Purpose of Music from Scripture 11
A General Overview of the Concept of Music in Scripture 11
• Music in the OT 11
• Music in the NT 16
An Exegesis of Ephesians 5:19 and Colossians 3:16 17
A Definition of the Biblical Purpose of Music Ministry 20

PART 3: DEVELOPING, CONTEXTUALISING & APPLYING THE BIBLICAL DATA 21

Chapter 8: Psalms, Hymns and Spiritual Songs Today: Developing a Philosophy 21
Chapter 9: The South African Context 22
Chapter 10: Psalms, Hymns and Spiritual Songs Today: Applying the Philosophy 24
SUMMARY AND CONCLUSION 26
APPENDIX A i
APPENDIX B iii
BIBLIOGRAPHY iiv
 INTRODUCTION

“Someone asked a question, ‘why do we sing?’

When we lift our hands to heaven, what do we really mean?
Someone may be wondering, when we sing our songs.
At times we may be cryin’, when nothin’s even wrong.
I sing because I’m happy. I sing because I’m free.
He’s eye is on the sparrow. That’s the reason why I sing”
These lyrics from contemporary gospel artist Kirk Franklin’s song, “Why We Sing”, may for
some justify the purpose of singing in church. But singing solely as an emotional expression and
thankful response to God for his blessings is a theologically inadequate definition for the purpose
of music and song in corporate worship. Despite James’ exhortation to sing in times of happiness
(5:13), one cannot downplay the place of singing in times of sorrow and lament (Ps 137). So why
does the church sing? Why not simply read Scripture, pray, recite creeds, paint pictures, reflect
in silent meditation, share testimony, give money or hear and obey the preaching of God’s word?
Surely all these activities are means of praising God. But why does God command that praise
also be sung (Ps 47:4; Ps 68:4; 1 Cor 14:15)? And why the concept of ‘praise music’? Why the
Old Testament (OT) emphasis on the goodness of praising the LORD by making music to his
name (Ps 92:1) and the New Testament (NT) injunction to sing psalms, hymns and spiritual
songs, and make melody? (Eph 5:19). Many Evangelicals would simply respond with an appeal
to the authority of Scripture (“the Bible says so!”). Other Bible-believing Christians may
strongly oppose the use of musical instruments, claiming that this concept is absent from the
NT. But once it has been agreed that at least some form of music or song is acceptable in church,
the question of form and style is raised. Inevitably, the various answers to this question become
the ammunition for today’s so-called “worship-wars” in church. Some however, like Michael
Horton, claim to have progressed “beyond style wars”, and “beyond contemporary and
traditional” debates toward “recovering the substance of worship”1. Yet by his own admission,
his congregants still prefer one particular form of music and style of worship: “People sang from
the Psalter and from a selection of great traditional hymns” and they “eagerly anticipate
worshipping in a style that most of us would call strictly traditional” (Horton 2005). Surely our
questions regarding the purpose and most appropriate form of corporate worship music demands
1
The context of Michael Horton’s article reveals that this “substance” is really his preference for and emphasis on the
preaching of the Word rather than the singing of praises.
a more thorough response than Horton’s claims.

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).

Chapter 2: “Traditional” Models

Contemporary music ministry models are not he only ones which require revision. The following
traditional approaches also contain weaknesses and potential dangers.
3. The word “new” is placed within inverted commas, and requires clarification. I do not really believe that the proposed
philosophy is novel. It is only apparently new and less common. Indeed there is nothing new under the sun. In fact, one
goal of this essay is to prove that the proposed philosophy actually finds precedent in Scripture. A “re-examined” or
“revised” music ministry philosophy is perhaps a more appropriate heading.
The "Hymns Only" position
Kauflin, while admitting to being guilty of overstatement in some cases, lists the following
concerns regarding churches which hold to a “hymns only” position:
“2.1. SO MANY WORDS.
Most hymns tend to be “dense” theologically. So many concepts are addressed that the
worshiper often lacks sufficient time to really grasp or reflect on what’s being sung. The
goal seems to be to sing as many words as possible during each hymn.
2.2. SKILL OVERKILL
More than one guitarist has complained that hymns require too much of your average
church musician. The chords often seem to change with every note of the melody.
Because hymns emphasise musicianship over accessibility, they are played less often,
or are not played well.
2.3. SENTIMENTALISM
Many people favour hymns simply because they grew up with them. Hymns sung in
childhood bring back fond memories for many believing adults, helping them feel more
comfortable in changing times. Yet the archaic language and musical style of hymns no
longer communicate effectively to younger generations, and are typically a hindrance to
evangelism.
2.4. SPIRIT DEFICIENCY
The more wordy the hymn, the more a worshiper’s attention must be focused on keeping
up with the lyrics. There is little time to hear the Spirit speak to us as we reflect on or
respond to the lyrics. Worship “in truth” is overemphasised, while worship “in spirit” is
neglected.” (Kauflin 2002:2)
"Exclusive psalmody" and "anti-instrument" positions
Proponents of exclusive psalmody believe that the only congregational singing permitted by
Scripture is the singing of OT Psalms. They refute the notion of singing hymns - let alone
contemporary worship songs. No concession is made for the composition and performance of
new “uninspired” music. This tradition also includes those who oppose the use of instruments in
worship. Their position is best summarised by a Scottish minister operating within this tradition:
“No New Testament prescription, effectively restoring instrumental music again to the church’s
worship, can be distinguished. The practice has no legitimate place, accordingly, in the worship
of the Christian Church.” (Cameron, H. 1978). This conclusion is drawn from the belief that
“Instrumental music is...an element in religious worship that was instituted by divine
commandment, practised as a branch of Levitical service in the tabernacle and temple and
performed by the Levitical order exclusively. But the distinctive features of the Levitical system,
the type giving place in Gospel times to the correlative anti-type, have been abolished.
Instrumental music, being strictly a part of the selfsame system of worship, has also, therefore,
now been abolished.” (Cameron, Ibid.). Although this theological argument appears at first glance
to be based on Scripture, it is actually an argument from silence, and misinterpretations of
Scripture and statements of belief such as the Westminster Confession of Faith and the
Regulative Principle (McLaughlin 2006). These models also stand in need of revision, but not
simply because of an outdated music style. The theological and hermeneutical weaknesses
presented by these models pose a far greater cause for concern than their lack of contemporary
appeal.

Chapter 3: “Pentecostal” Models

Pentecostal worship services are marked by a greater emphasis on emotional expression than is
present in most other Christian traditions. “In Pentecostal churches there is a great deal of active
congregational involvement: the worshippers may dance and clap” (BBC 2006). While these
expressions are not problematic in themselves, the fact that their absence or less frequent
occurrence in other traditions is often frowned upon by Pentecostals, is a cause for concern.
Pentecostal praise and worship music is often very repetitive. Short songs may easily be
repeated up to twenty times in some Cape Flats and Black South African Pentecostal traditions,
while the lyrical content of songs often lacks theological depth. Songs often come in the form of
simple choruses employing much lyrical and structural repetition. Consider the words of these
traditional Afrikaans Pentecostal choruses:
“Vrou van Samaria, Gee my ‘n bietjie water (x2),
‘n Bietjie water om te drink” (Traditional; Author Unknown)
(Roughly translated: “Samaritan women, give me some water, give me some water, some water to
drink.”)
“Moses, Aaron, julle moet dir volk uit lei
Gaan sé vir Pharaoh, julle moet die volk uit lei” (Traditional; Author Unknown)
(Roughly translated: ”Moses, Aaron, you must lead the people to freedom. Go and tell Pharaoh,
you must lead the people to freedom”).
Repetition is employed, not so much to drive home a theme, but rather to create, in tandem with
the uptempo African-style beat, an atmosphere facilitaing intense emotional expression. This sort
of worship tends to overemphasize externals, such as bodily expressions, dancing, shouting,
clapping and the like, at the expense of internal responses, such as reflection and meditation on
the truth of God contained in the song lyrics.

Chapter 4: “Charismatic” Models

Charismatic music ministry models, while sometimes sharing similar weaknesses to
contemporary and Pentecostal models also present a couple of unique concerns:
4.1. WRONG FOCUS
One charismatic author concedes that the intention of chorus writers within the movement is to
help charismatics “...praise God to bring forth His presence.” (Hamon 1993:6). Singing is often
seen as a tool in the hands of the worshipper to get what they want from God. While it is true
that worship singing facilitates a greater awareness and sense of God’s presence for the
worshipper, experience alone should never be the ultimate focus in worship.

4.2. RESPONSE WITHOUT REFLECTION

Charismatic music ministry tends to emphasize the need for the spontaneous at the expense of
the structured. Charismatics in a sense plan to be spontaneous - and this becomes the typical
“order” of service! The focus here is on “flowing in the Spirit”, a term which basically means
following the spontaneous leading and promptings of the Holy Spirit. When it comes to music
and song, long periods of time are often spent in singing or chanting repetitve phrases or
Scripture verses, or in creating an intense atmosphere through musical accompaniment. This is
not a problem in itself, as this essay will later argue for the Biblical precedant for such forms of
worship. But as is the case with other music ministry models, when this becomes the exclusive
approach to music in the church, balance and substance is lost. An over-emphasis on what the
Spirit is believed to be saying will ultimately result in a neglecting what the Word of God teaches.
In some charismatic worship services, well over an hour is spent in praising God through music
and song. During this time, as few as two composed pieces of music are sung - the rest is all
spontaneous and prophetic. Praise and worship music needs to be more than just spontaneous
response. In fact, it firstly needs to involve singing “premeditated” lyrics which facilitate
thoughtful reflection upon theological statements and doctrinal truths contained in the record of
God’s final revelation - his written word. This kind of singing would then ultimately arouse a
spontaneous a response to God’s truth.

Chapter 5: “Indigenous” Models

The models examined thus far are typical of Western church traditions - whether traditional or
contemporary. But churches also exist where the Gospel has impacted non-Western cultures. It
is true that some missionaries who first brought the Gospel to foreign lands assumed that no
music was available in the local culture for the purpose of worshipping God, as music had often
been associated with idolatry and other pagan practices. Consider the example of early
missionaries in Africa, who back then simply taught Western-styled hymns to the locals,
translating only the words, and thereby allowing “western melodies (to destroy) the meaning of
the song texts due to the nature of African tone languages. So people soon got used to singing
what for them was meaningless songs” (King 2002:287). But other missionaries have learned
from these earlier mistakes. There has since been an “upsurge in the use of local Christian music
in churches across Africa and a growing freedom to express worship and praise to God in a more
distinctively African manner” (Chinchen & Chinchen 2002:287). Furthermore, where local
Christians are now themselves responsible for planting new, indigenous, independent churches,
the “worship style wars” prevalent in many Western churches are largely absent, except in the
case of mainline church plants which have a heritage passed down from previous Western
missionaries. The problem is not the lack of maintaining a Western music tradition. Rather, it is
the fact that independent churches run the risk of slipping into various forms of syncretism in
musical expression and corporate worship, in the attempt to be more true to local culture and
custom. Here Christian leaders need to serve as guardians of the faith and guides for good
doctrinal teaching about, and through, the music (Chinchen & Chinchen 2002:295).

Chapter 6: The “Blended-worship” Model

Rinquest (2003:64) defines “blended-worship” as “the mixing of traditional hymns,
contemporary popular hymns and songs with appropriate ethnic flavour.” This model is not yet
widespread in the church today, but it is apparently gaining rapid popularity in some circles,
especially churches which have adopted the postmodern philosophy of blending "ancient" and
"future" (Wright 2005), and churches where the value and benefit of both the "contemporary"
and "traditional" music models have been discovered. Yet, strong criticism has been levelled
against this model because it is largely seen as an unattainable ideal: "At first hearing, blended
worship sounds like an ideal solution for meeting the needs of a diverse congregation. There is
something for everyone in the blended worship model. But is that enough? Does blending two or
more music and worship styles in one service work? Maybe so. Just nowhere that I have
been...Based on my experience serving in Baptist, Presbyterian, non-denominational, small,
medium and large churches, I believe blended worship is an ineffective compromise for meeting
the needs of most churches. A large segment of the congregation stays frustrated and agitated
much of the time." (Bowlus 2006). Some South African pastors share the same sentiment. One
pastor, when asked whether he believed if the older and younger generations in his church would
ever be able to worship together in a service where traditional and modern music styles were
combined, responded: “Never. Their musical preferences are too far apart. We need two services”
(Hattingh 2006). It seems that many who have begun to employ the blended worship model,
have simplistically seen it as some ‘grand 'Third Way' between two extremes" (Keller 2001:2),
those extremes being traditional hymns and contemporary choruses. This generally results in
what Keller sums up as a "wooden 50-50 division between contemporary songs and traditional
hymns. This is often quite jarring and unhelpful. It is more of a political compromise than the
result of reflection about your community's culture and your church's tradition" (Keller 2001:
Ibid). Long time advocate of blended worship, Robert Webber, believes that this model matches
the trend toward “convergence” in worship, and should as such incorporate more than just a
combination of hymns and choruses. "As the world shrinks and more people are exposed to
different cultures, people are more open to worship practices of other traditions. Traditional
churches are incorporating the arts, liturgical churches are becoming more open and participatory,
contemporary churches are drawing more from ancient practices" (Webber 2006). Other
advocates of this model say that "by blending the best of the ancient traditions with modern
innovations, blended worship honors our Christian heritage while allowing for renewal of those
traditions" (Warner 2006). In response, it must be said that such a model embodies the thrust of
this essay, and should become a goal which every church’s leadership and music ministry aims to
reach. And such a goal can indeed only be worked towards once “the various functions of church
music” are understood (Rinquest, ibid.). Now it is this understanding of the function of music in
the church, as defined by Scripture, that this essay will seek to present. Yet, this model often
receives much negative criticism from the congregant seeking a "worship experience" that will suit
and satisfy their needs. Such an attitude towards corporate worship displays a lack of
understanding of what the Bible actually teaches about worship music. While readily highlighting
the potential failure of the blended-worship model, Bowlus agrees that the lack of educating the
congregation in what it means to truly worship God is what ultimately causes the model to fail.
He lists certain realities which must first be addressed before blended worship ever has a chance
to work:
1. Because congregations are often demographically, generationally, ethnically and
musically diverse, each week a portion is worshipping in a style that is not their
preference;
2. Most congregants lack in their understanding of what true worship is;
3. Congregants must be educated and encouraged to study and practice worship, both
privately and corporately;
Congregants who mature from weekend attenders to true worshippers will ultimately develop a
greater openness and understanding of individual worship tastes. This in turn "can produce a
healthy tolerance of other forms of worship, from traditional to contemporary, with an
understanding that it takes diversity to reach diversity." (Bowlus 2006, Ibid.)
The weaknesses presented by each model in this section points to the need to work towards a
reviewed music ministry model.

PART 2: BIBLICAL SURVEYS AND EXEGESES

The aim of this section of the essay is to seek Biblical precedant for the development of a revised
music ministry model. To this end, the concept of music in Scripture - which for our purposes
will comprise singing and the use of instruments - will be examined so as to note the features and
functions of music ministry in corporate worship. Paul’s admonitions regarding congregational
singing will be exegeted. As a result, the data for formulating a Biblically-based music ministry
model will become available.

Chapter 7: The Features and Function of Music in Scripture

It has rightly been said that the attempt to develop a theology of music simply because of its
mention in Scripture, is as futile as the attempt to develop a theology of mathematics, simply
because the Bible contains references to numbers. A uniquely Christian understanding of music is
non-existent (Woodhouse 1999:12). Yet studying the Scriptures to discover how music
functioned in the lives of the community of faith is helpful in at least defining the features and
functions of music, and its role for the church today.

7.1. A Survey of the Concept of Music in Scripture

7.1.1. Music in the Old Testament (OT)
Origin and features
The first allusion to music in Scripture is found in Genesis 4:21 where Jubal, a descendant of
Cain, is referred to as the father of those who ‘handle the harp and the organ’ (KJV), ‘handle the
harp and pipe.(WEB)’ or ‘play the harp and the flute’ (NIV). Note the following word
renderings: ‘Handle’ or ‘play’ is the Hebrew word taphas and can be translated “to manipulate”;
‘Harp’ comes from a Hebrew root word meaning “to twang”; ‘Organ’, ‘pipe’ or ‘flute’ contains
the concept of breathing in its original sense, and can denote ‘a reed-instrument of music’, which
leaves room for the difference in translations, with ‘flute’ probably being the most accurate. From
these words it is clear that reference is made here to people who play instruments which produce
both “twanging” and “breathy” sounds - technically: rhythmic and woodwind sounds. This
evidence seems to match known historical data: “Music is one of the oldest arts. People probably
started to sing as soon as language developed. Hunting tools struck together may have been the
first musical instruments. By about 10,000 B.C., people had discovered how to make flutes out
of hollow bones.” (Longyear 2001:1). Of further significance is the fact that music is here being
produced by the sinful, unredeemed descendants of Cain - wicked people living after the fall -
whose musical creativity nonetheless remained unstifled. This points to the fact that “music is
one of those aspects of creation which God gives generously to all humanity” (Woodhouse
1999:11), whether saved or unsaved. Music is a divine gift, desire or tendency, a creative ability
which reflects the image of the Creator, an ability resident in some way within every individual.
As such, even non-believers can appreciate, use and make music (Genade 2006). More so,
Genesis 4:21 refers to the antidiluvian age (the ancient period before the Flood). As such, it gives
us a glimpse into life before the origin of the nations in Genesis 10, and points to another
principle regarding music: Music is a universal gift from God which has always formed part of
every people, nation and culture on the earth.

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.

Early Congregational Music / Singing

The first reference to singing as an act of the people of God is highly significant and foundational
in our understanding of music’s function within the community of faith. In Exodus 15:1 (KJV),
Moses and God’s people sing in direct response to God’s mighty act of redemption (from
Egypt). This verse reveals five basic principles for music ministry in the congregational worship
setting:
1. Music / singing should be a direct response to the acts of God
(“Then sang...”) [see context - Ex 14]
2. Music / singing should be corporate in nature
(“then sang Moses and the children of Israel”)
3. Music / singing should be directed to God
(“sang...this unto the LORD”)
4. Music / singing should be a voluntary act of the will
(“I will sing”)
5. Music / singing should employ words revealing God’s acts and attributes (see Ex 15:2)
(“...for he has triumphed gloriously...the LORD is my strength...my song,... my
salvation”).
Mbense highlights the significance of this verse in understanding the purpose of music ministry.
Through singing, God is praised for past acts of deliverance (Mbense 2006).
Exodus 15:20 - 21 (NIV) introduces three more principles concerning the congregational music of
the redeemed, who sing in response to God’s acts of redemption (Ex 15:19):
6. Music / singing may include instrumental accompaniment
(“...with tambourines...”) [v20]
7. Music / singing may include dancing
(“...and dancing...”) [v20]
8. Music / singing may be directed toward others - the purpose here being an exhoration
and invocation to worship the LORD.
(“Miriam sang to them: ”) [v21]
Corporate singing is seen as a spontaneous, thankful response to God’s provision, and takes on
what seems to be a basic form of poetry in Numbers 21:17. The praise song of Deuteronomy 32
reveals the didactic (teaching) function of music and song for the community of faith, when read
against the backdrop of God’s command in Deut 31:19 - 22 (NIV). These verses highlight the
following aspects concerning songs of a didactic nature:
1. The song should be written down (v19)
2. The song must be taught to the community (v19)
3. The community must be urged to sing the song (v19)
4. The song must bear witness for God (v19)
5. The song must testify to and warn of God’s covenant (v20)
6. The song must be remembered by future generations (v21)

The United Monarchy and the Psalms

During Saul’s reign, music continued to function as an integral part of national celebration (1 Sam
18:6). Music was also recognised as a means of bringing deliverance from spiritual oppression (1
Sam 16:14-23; cf 1 Sam 19:9). Both David and his son Solomon were songwriters. David
composed a vast number of Psalms, all of which were intended to be sung, and many of which are
addressed to the director of music. Solomon penned more than 1000 songs (1 Kgs 4:32), including
the Song of Songs (1:1). The emphasis on new musical compositions in Psalms is evidenced by
repeated references to “new songs” (33:3; 40:3; 96:1; 98:1; 144:9; 149:1). The most significant
developments regarding music ministry in the Bible emerged during David and Solomon’s
kingship:
1. “Full-time” music ministers
Full-time music ministers were employed to do perpetual service before the LORD, first in the
tabernacle, and later on in the temple (see 1 Chron 6:31-32; 25:6). The music ministers included
composers (see “4. The development of Psalmody” below), musicians, singers, chief singers /
overseers (1 Chron 15:22), musical directors (1 Chron 15:21), music teachers and music students
(1 Chron 25:8). The fact that these music ministers were Levites implies spiritual leadership.
2. Trained and skillful musicians
During this period, musicians were trained and highly skilled in music for the LORD (1 Chron
25:7). Musical developments included specific tuning standards for instruments: psalteries were
set to alamoth (1 Chron 15:20), i.e. the soprano or female voice, perhaps even falsetto (Strong
1890); harps were set to sheminith, probably an eight stringed lyre (1 Chron 15:21) [Strong 1890]
3. Musical instruments and technological advancement
Musical instruments from this period in Israel’s history reflects technological advancement: the
inclusion of cymbals - possibly an indication of the dawning of the iron age (1500 - 1000 BC
[Fagan 2001]) and lyres (1 Chron 25:6), in addition to the ancient flutes and harps. By the time
of the Psalms, instruments for worship had expanded to include trumpets and various types of
cymbals (Ps 150), ten-stringed lyres (Ps 92) and the “psaltery” (Ps 144:9) - possibly a lyre, harp
or bagpipe-like instrument played with the fingers but without a plectrum (Smith 1884).
4. The development of Psalmody
Although the Book of Psalms probably only reached its final form centuries later, much of it was
composed during the the time of David and Solomon’s reign. This is attested to by the
individuals named in the headings of the psalms, for example: David (73 times), Solomon (Ps 72,
127), Sons of Korah (11 times), Asaph (12 times), Heman (Ps 88), Ethan (Ps 89), and Jeduthun
(Ps 39, 62, 77) [Lasor 1996:444]. The Sons of Korah, Asaph, Ethan, Jeduthun and Heman the
singer were all active in music composition and music ministry during this period (see 1
Chronicles 15:17, 19; 16:41,42; 25:1; 25:6). The Book of Psalms served a liturgical purpose for
the community of faith - it was the hymn book of the people of God. The Book also reflects
different types of psalms. Some refer to songs requiring instrumental accompaniment, some to a
cappella songs, some to prayers of complaint. Others denote hymns and love songs. The
headings in some Psalms also seem to point to their specific liturgical functions, such as
thanksgiving hymns, petitions, songs of dedication and songs for instruction. Psalms also contain
a variety of technical musical expressions, many of which remain unclear. Some terms specify the
type of musical accompaniment required by the psalm (e.g. stringed instruments, flutes etc).
Others may refer to names of tunes or annotations for musical interludes (Lasor 1996:445). The
Psalms highlight the following functions of song / music:
1. To praise God (7:17; 9:2; 9:11; 18:49; 21:23; 27:6; 30:4; 33:3; 47:6 etc)
2. To commune with God (13:6; 18 - title; 95:1)
3. To express emotion (95:1; 98:4; 105:43; 108:1; 126:1-3)
4. To respond to God’s ways and deeds (98:1; 98:9; 107:22; 138:5)
5. To come into God’s presence (22:3 - KJV; 95:2; 100:2)
6. To witness to God among unbelievers (40:3; 57:9; 108:3; 138:1)
7. To accompany processions, celebration and dancing (68:24-25; 145:7; 149:3; 150:3-4)
 8. To proclaim God’s word (119:54, 172)
9. To please God (135:3; 147:1)
10. To bring an awareness of God’s deliverance (32:7)
11. To facilitate dancing (150:4)
12. For special events (dedications - 30 [title]; weddings - 45 [title], 78:63; sabbaths - 92;
ascents - 120-134).

Music, Prophecy and Warfare

A link exists between music, prophecy and ocassionally, warfare. The company of prophets who
met Saul in 1 Samuel 10:5 used a number of musical instruments (psaltery, tambourine, pipe and
harp) while they prophesied. Musicians were set apart by David for the ministry of
prophesying, accompanied by musical instruments (1 Chron 25:1). In the writing prophets, some
prophecies came in the form of poetic songs (e,g, Is 12; 42:10-17; Hab 3). Some prophecies
encouraged praise singing in response to God’s promises and acts (Is 50:1-4; Is 52:8-9; Jer
20:13). Isaiah 30:29-32 portrays music as an accompaniment to God’s acts of judgment and war
against his enemies. This prophetic portion appears to be a poetic rendition of events such as
those where God’s people were instructed to march into battle with music and songs of praise.
Deborah’s battle (Judg 5:12), the destruction of Jericho (Joshua 6 - trumpets) and the battle of
Jehoshaphat (2 Chron 20:20-22 - praise singing) serve as examples of such events in the history
of Israel. It may have been a customary response to employ song and music in battle (Judg 5, cf.
Ex 15). Sometimes, these events were also born out of prophetic instruction (Joshua 6:1-7; 2
Chron 20:14-17). In the battle of Jehoshaphat, the act of singing became an act of faith. The
musicians and singers led the army into battle with praise as a declaration of their dependence on
God for victory.

Meaningless Worship Offerings, Lament and Pagan Worship Developments

In Amos 5:21-27, God rebukes his people for bringing him meaningless offerings of worship
(including songs and music - verse 23) while practicing injustice, unrighteousness and idolatry. As
such, God requires that music be a means of offering him worship in holiness and integrity.
Forms within the book of Lamentations sheds light on the use of music and song for the
purposes of mourning and lamentation for the community of faith. In this book, the dirge or
funeral song form is frequently employed (Lam 1:1ff, 2:1ff, 4:1ff) [Lasor 1996:528 - 529]. Pagan
worship in later OT times reflects a more eclectic selection of instruments (“the sound of the
horn, flute, zither, lyre, harp, pipes and all kinds of music” Daniel 3:10, 15 - NIV).

7.1.2. Music in the New Testament (NT)

While music and song is far more prevalent in the OT, these aspects emerge from NT studies:
1. Hymn singing (Matt 26:30; Mk 14:26)
2. Music for celebrations (Lk 15:25)
3. Singing as worship in times of distress (Acts 16:25)
4. Singing as worship from Gentiles (Rom 15:9,11)
5. Singing in tongues (1 Cor 14:15)
6. Singing with the mind (1 Cor 14:15)
7. Singing psalms spontaneously (1 Cor 14:26)
8. Singing psalms, hymns and spiritual songs (Eph 5:19; Col 3:16)
9. Making melody (Eph 5:19)
10. Jesus singing praises among the congregation of believers (Heb 2:12)
11. Singing as emotional response (Jas 5:13)
12. Singing new songs (Rev 5:9; 14:3) and old songs (Rev 15:3, cf Dt 31:22, 30; Dt 32)
12. Singing about Christ’s work (Rev 5:9; 15:3)
13. Singing from every tribe, language, people, and nation (Rev 5:9)
14. Music (harp - Rev 5:8) and singing (Rev 5:9; 14:3) before God’s throne in heaven
15. Music not directed to God will cease one day (Rev 18:22)
NT teaching on music seems to be based on OT presuppositions of the concept, with the
inclusion of Christ being worshipped in song, Gentile worship singing, singing in tongues and
singing in heaven.

7.2. An Exegesis of Ephesians 5:19 and Colossians 3:16

7.2.1 Background Issues: Ephesians and Colossians
Both letters were written by Paul while in prison (Eph 4:1; 6:20; Col 4:3,10,18), possibly during
his Roman imprisonment, around A.D. 60-61. Both letters were delivered by Tychicus, most
likely at the same time (Eph 6:21f; Col 4:7f). Colossians went to the Phrygian region. The
recipients of Ephesians are disputed as the most reliable manuscripts do not include the
addressee. It was probably a general letter sent to all the churches of the province of Asia. In
Colossians -which was likely written first - Paul highlights the supremacy of Christ. In
Ephesians he expands this concept to include the relationship of the Church to the supreme
Christ and to God’s eternal purpose (Bruce, 1961: 12-13). These letters bear a very close
affinity. Our key passages are repeated in both epistles, almost verbatim.

7.2.2. Social Setting

In both verses it is a Christian assembly, probably involving a small group (house church)
gathered for fellowship, a love feast or daily Christian socialising (cf. Acts 2:42ff), in which much
congregational participation is implied (Graham 1997:469).

7.2.3. Literary Context

Colossians 3:16
This verse is part of the section of general ethical exhortations given in the light of the church’s
new life in the supreme Christ (3: 1 - 17). It describes the ideal of the “Word-indwelt”, corporate
life of the church in Christ, before Paul discusses specific relationships in the body as a result of
their Word-indwelt, corporate indentity in Christ (4:18 - 25).
Ephesians 5:19
As in Colossians, this verse is part of a set of general ethics (4:17 - 5:21) called for in the light of
the church’s new life in relationship with Christ (5:15-21). It describes the ideal of the Spirit-
filled, corporate life of the church in Christ, before Paul discusses specific relationships in the
body as a result of their Spirit-filled, corporate identity (5:22 - 6:9).
In both cases, our key verses are found in the concluding pericopes (Col 3:15 - 17; Eph 3:15-21)
of the sections on general ethics.

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]

7.2.5 Keywords (in both verses)

While some see the terms “psalm”, “hymn” and “spiritual song” as synonymous because of their
apparently interchangeable occurences in the Septuagint and other Hellenistic Jewish writings
(Detwiler 2001:347 - 361), distinctions may still be drawn as follows:

1. “Psalms” (Grk. psalmos)

These probably referred to the OT psalter (Bruce 1961:111), as a source of worship music of
Jewish origin. As such they were Scripture in song. The etymology of the word denotes a song
sung with musical accompaniment (Kittel 1975: 489 - 503).

2. “Hymns” (Grk. humnos)

The humnos was originally a song of praise to Greek gods. It had a specific structure: invocation
of the god, praise of his birt and his acts, and prayer for his coming. Humnos was later used in
the Septuagint in general reference to some OT praise songs and psalms. In its narrow usage it
referred to OT hymns such as Psalm 135, which also contained a specific structure. Humnos
essentialy denoted songs of praise to a god with a specific (Greek) metrical style and structure
(Kittel 1975: 489 - 503). Eadie sees humnos as compositions “divested of Jewish imagery and
theocratic allusions, and more adapted to the heathen mind” (1977: 252). For Paul, humnos
probably refered to new non-Jewish Christian compositions concerning Christ and God, or OT
Psalms that resembled the Greek metric style.
3. “Spiritual Songs” (Grk. odais pneumatikais)
Ode referred in secular literature to all lyrical poetry. It was the general term for songs (Graham
1997:473). In both verses, “spiritual” is the qualifier, distinguishing it from general, pagan songs.
Spiritual songs were also free forms of song expressing personal holiness and experience with
God (Eadie 1977:252). They were probably spontaneous songs (King 1998:279). Bruce sees
them as “unpremeditated words sung in the Spirit, voicing praise and holy aspirations”
(1961:111). Dunn sees pneumatikais as defining “songs sung under immediate inspiration of the
Spirit (charismatic songs, inspired songs)”, which shows that lively spontaneous worship existed
in the Pauline churches (1996:239). Because pneumatikais usually refers to spiritual things, Fee
(2001:362) concludes that “spiritual songs” indicate a kind of “charismatic hymnody” where
Spirit-inspired, spontaneous songs were offered to God in congregational worship, although the
context of the verses would not permit it to mean singing in tongues, which neither teaches or
admonishes!
4. “With the heart” (Grk. in te kardia)
Worship music must be an outward expression of the reality of the heart. Worship music must
also be offered to God passionately, wholeheartedly, with the heart.

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.

7.3. A Definition of the Biblical Purpose of Music Ministry

In summarising the Biblical findings of this section, the purpose of music ministry will emerge as
follows: In the Bible, music ministry exists to facilitate a God glorifying awareness of his presence
for expressing sincere, emotional, voluntary, corporate thanksgiving, praise and worship to God
for his acts and ways; teaching and memorisation of Scripture and doctrine; mutual
encouragement for believers; and bearing witness of God to unbelievers. Hugh Wetmore presents
this two-fold, summary statement of purpose:
“1.To express our praise and worship (Ps 100:2 et al);
2.To embed God’s Word in our minds to keep us walking in God’s ways (Deut 31:19-22, Eph
5:19,20).” (Wetmore 2006).

PART 3: DEVELOPING, CONTEXTUALISING AND APPLYING THE BIBLICAL DATA

In this section, the Biblical findings concerning music will be used to developed a music ministry
philosophy. The present state of music ministry in the South African church will then be
discussed with the intention of applying the philosophy to it.

Chapter 8: Psalms, Hymns and Spiritual Songs Today: Developing a Philosophy

Based on our findings, a Biblically-based music ministry philosophy should have the following
features: Music and singing must be seen as...
1. Divine in origin and universally present in humanity
2. Possessing cultural value.
3. A divinely ordered means of worship which facilitates:
• pleasing God
• praising God for his acts and greatness
• expressing gratitude to God
• experiencing God’s presence
• an awareness of his deliverance
• emotional response to God (e.g. celebration, lament or distress)
• voluntary response to God
• teaching about God and his covenant
• teaching future generations about God
• speaking and memorising God’s word
• mutual encouragement in public worship
• bearing witness for God to unbelievers
• talking with God
• prophecy and tongues
• worship in heaven and eternity
 • reflection on Christ’s work
• the act of faith
• spiritual warfare
• spontaneous, Spirit-prompted worship
• dancing
4. A natural result of being filled with the Word and the Spirit
5. A ministry requiring spiritual leadership
6. Incorporating different forms or genres in one congregation, including:
• Songs with musical accompaniment
• Scripture songs
• OT Psalms
• Structured (metric) hymns to Christ or God
• Contextualized songs
• Local original compositions in local languages
• Songs in different languages
• New songs and Old songs
7. Something which God and Jesus does
8. Something that will cease one day if not used to glorify God.
9. Something that develops over time. Developments should include:
• Use of newly invented instruments
• Use of technological advancements
• Development of musical skills including teaching, studying, composition, notation,
and tuning
• Full-time music ministry, including musical direction and oversight.

Chapter 9: The South African Context

In order to conduct a music ministry survey among Evangelical Christians from across the
country, 28 South African church leaders, teachers of theology, church members and music
ministers were interviewed (see Append. 1 for survey questions). These people represent
various cultural backgrounds (Zulu, Tswana, Xhosa, White - English, White - Afrikaans, Indian
and Coloured), parts of South Africa (Gauteng, Western Cape, Eastern Cape, KZN), age groups
(20 - 74), denominations (Anglican, Assemblies of God, Baptist [Convention, Independent and
Union], Independent Pentecostal and Charismatics and Congregational), and theological positions
(Conservative Evangelical, Reformed, Charismatic, Pentecostal). The survey produced the
following findings regarding culture-specific functions, forms, features and challenges of music
ministry in South Africa.
9.1. Black Churches
Function: The celebratory function of music is highly regarded
Forms: African Traditional songs, Western hymns translated into Xhosa, Sotho, Tswana, Zulu.
The younger generation has a preference for “International worship music” (modern worship
songs of mainly US-origin) and contemporary African Gospel songs popularised by secular
(often Kwaito) artists, much to the dismay of the older generation.
Features: More traditional churches (e.g. Baptists) do not generally employ a song leader or
“worship team”. Song selection is spontaneous. In many independent Pentecostal churches
worship singing is led by a song leader who selects the songs. Icilongo leVangeli4 tends to be the
universal hymn-book for Pentecostals and Evangelicals. Baptists are of the only Evangelicals to
have a Xhosa hymn book, which is otherwise typically used in non-Evangelical (liturgical)
churches.
Challenges: Choruses often lack theological depth in its lyrical content; Younger people are not
given much freedom to express themselves in non-Charismatic churches; “Ukuqhensa” (“to move
the shoulders to the rhythm”) is virtually impossible to do to Western hymns; Unsaved church
goers can easily get involved in ministry due to a lack of spiritual leadership in music ministry.
9.2. White Churches
Function: The facilitation of unified corporate worship
Forms: Typically Western hymns and / or modern worship songs,
Features: Many traditional churches employ a song leader or “worship team”. Song selection is
pre-planned and includes rehearsals. In charismatic / Pentecostal churches, worship singing is
more expressive than usual. Services are often split based on musical preference and worship
style.
Challenges: Modern worship songs often lack theological depth; Younger people tend not to
enjoy the music in non-Charismatic churches; Hymns are hardly sung in contemporary churches;
Music ministry is becoming performance based, while the congregation spectates;

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

9.4 Multicultural Churches

Many of the churches represented have mixed congregations, but only one can be regarded as
fully multi-cultural.
Function: The one thing we can all do together
Forms: Modern worship songs; original songs; traditional African songs; some hymns
Features: Multicultural worship music teams, bands and choirs; music plays a vital part of the
service; Emphasis on Biblical teaching regarding music; Emphasis on skill; Everyone is very
happy with music; Multicultural worship singing allows people from
Challenges: These churches are often so big that it is difficult to get involved in music ministry
9.5 Survey Summary
Most people could not clearly define or distinguish between hymns and choruses. Most failed to
see multiple purposes or functions of music ministry. Most have never received Bible teaching
on the subject of music. Most churches do not incorporate a healthy balance of music forms.
Most fail to see the benefit of singing songs from other cultures. Most do not employ original
songs. Most music ministries are not relevant to every age group.

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:

10.1. Pastoral Oversight

This component needs to be taken seriously in all our churches. It should incorporate providing
at least basic theological education for song leaders and musicians. This can be done by the
theologically trained pastor. Ideally, music ministry should come under the direct oversight of a
musician who is a spiritually mature, theologically trained leader with a clear sense of divine call
to ministry (like the OT Levites). Either way, SA spiritual leaders in all cultures have abdicated
from their responsibility to guard the flock against false teaching - even through music and song.
The divine origins and commands regarding music as a form of worship implies that music
ministry needs careful, pastoral supervision and spiritual leadership. In the Bible, this is
evidenced by Levitical involvement and leadership in OT music ministry.

10.2 Purpose of Music Ministry and Orders of Service

Given that most South Africans fail to see multiple purposes of music ministry, this model will
aide in teaching the numerous Biblical functions of music and song. Functions which are highly
regarded by some cultures (e.g. celebration, opportunities to use gifts in Black and Coloured
church culture), will be held in tension with less commonly regarded functions (e.g. teaching
doctrine, helping the next generation memorise God’s word). Furthermore, in all the various
traditions represented by the survey, orders of service (or liturgies) have ultimately developed.
Many of the functions of music and song recorded in Scripture find no expression in these
services. Churches should consider adapting their liturgies to allow for functions such as
spontaneous worship, speaking and memorising God’s word, spiritual warfare, mutual
encouragement in public worship, prophecy and tongues and creative reflection on Christ’s work.

10.3. Being Filled with the Word and the Spirit

South African Evangelicals, not unlike those in other countries, tend to gravitate toward one of
these two Biblical injunctions: they are passionate about being filled with either the Word or the
Spirit. Our exegesis has revealed the significance of both these commands for the development
and sustenance of a genuine, God-glorifying music ministry. This model emphasizes the need to
be filled with both Christ’s Word and His Spirit. A heartfelt music ministry incorporating
psalms, hymns and spiritual songs of praise to God and Christ will be the result.

10.4 New Indigenous Music with a Wide Thematic Range

In South Africa, locally composed worship music is often rejected in favour of American,
European or Australian worship song imports. Many of these songs have a limited thematic
range. This model encourages new, local musical compositions and the use of songs with a wide
thematic range - both principles promoted in the Psalms.

10.5. Musical Developments

In many disadvantaged South African communities, this aspect is ignored. While Black and
Coloured musicians exude natural talent, little or no attempt is made at progressing from playing
by ear to studying music. Reading musical notation, the art of composition and tuning remain
undeveloped skills. Fulltime music ministry is rarely encouraged. Technological advancements in
music ministry are often overlooked due to a lack of resources or vision. And yet, if musical
development is part and parcel of the Biblical ideal of music ministry, it should be embraced in all
South African Evangelical church communities. Through the sharing of economic and material
resources, this component can become a reality.

SUMMARY AND CONCLUSION

The models discussed in Chapters 1 to 6 each contain helpful elements, inherent misconceptions
and obvious weaknesses. Weaknesses become more evident as models exist in isolation,
producing the need for the development of a reviewed model which essentially incorporates the
elements of doctrinal soundness, theological depth, spiritual vibrancy, spontaneity of expression,
cultural diversity and traditional heritage present in each of the current models. The data
presented by the Biblical surveys and exegeses in Chapter 7 has provided us with a wide range of
Biblical teaching on the concept of music ministry. This data has formed the basis for the
development of the reviewed music ministry model in Chapter 8, which contains an array of
Bible-based features and functions of music. These include music’s divine origin, universal nature,
cultural value, facilitation of diverse worship expressions, prerequisite of being filled with Word
and Spirit, need for spiritual oversight, diversity in form, and tendency to develop over time. The
results of the national survey and interviews helped to depict the SA local church music ministry
scene in Chapter 9. Different SA church communities and traditions were shown to recognise
various “culture-specific” functions of music. The typical ministry forms, features and challenges
present in these communities, and a number of negative concerns raised by the interviews and
surveys have demanded the application of the reviewed model to the SA context (Chapter 10).
Application was made in specific areas: the need for pastoral oversight, the purpose of music
ministry, orders of service, the need to emphasize both Word and Spirit, the need for new local
worship music covering a broader thematic range, and the significance of musical developments.
In closing, Evangelical music ministry in contemporary South Africa has tended to be an “either /
or” situation. Charismatics love their spiritual songs. Traditional churches adore their hymns.
Contemporary Evangelicals have appreciated the Garrett’s “Scripture in Song” and the “Mission
Praise” songbooks. The younger generation in the white churches have embraced the modern rock
sounds of Delirious?, Vineyard, Passion, United Live and Planetshakers. African churches enjoy
their translated hymns and selections of indigenous, locally composed hymns and songs
stemming from the days of Tiyo Soga (Roy 2002:57), while the youth try to force in some
Joyous Celebration, Lundi, Rebecca or Ismael’s lone gospel track on his otherwise kwaito CD.
Coloured churches have always loved to juig and koordans5 to pinkster koortjies6 when they
weren’t singing Bill Gaither and hymns, Integrity Music and less hymns, Ron Kenoly and a
hymn, Hillsongs without hymns, Praise Africa and now Lakewood and Israel Houghton! But this
model proposes integration with purpose. The teaching and pastoral leadership components of
this model must facilitate this integration on the basis of the music ministry principles embedded
in the NT concepts of “psalms”, “hymns” and “spiritual songs”:

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

SOUTH AFRICAN CHURCH MUSIC MINISTRY SURVEY

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?

3. What style of music do you feel is acceptable in the local church?

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?

6. Is it important to sing hymns in church? Give reasons

7. Is it important to sing modern worship songs / choruses? Give reasons.

8. Is it important to sing songs from another culture / language? Give reasons.

9. Do you consider yourself to be musical? Yes q No q

10. Have you been involved in church music ministry? Yes q No q
11. What is your age-group? 10 - 19 q 20- 29 q 30 - 49 q 50 - 59 q 60 plus q
12. Describe your cultural background / heritage / affinity / influences.

CHURCH - RELATED QUESTIONS

1. Has your church ever received Bible teaching on the subject of music? Give details.

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

7. Describe your church’s cultural or community context.

please return to:

JEREMY G. KOERIES
24 HERCULES WAY, OCEAN VIEW, 7975
(021) 783 1847 or 0847043921
koeries@webmail.co.za
Data will be used as statistical findings contributing toward the completion of research for a mini thesis in the Bachelor of Theology programme at Cape Town Baptist Seminary
[http://www.ctbs.org.za], June 2006.
 APPENDIX B

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.

The Literary Aspects of a Hymn

Form:
The structure of any hymn reveals distinct divisions. These divisions are called stanzas. Stanzas
refer to the consistent organisation of single lines of poetry. These lines are called verses.

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

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Horton, M. 2005. New Horizons. http://www.opc.org/new_horizons/NH99/NH9904a.html
 Accessed: March 2006

Kauflin, B. 2003. Making the Most of the Modern Worship Movement.

http://www.sovereigngraceministries.org Accessed: 15 November 2005

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Accessed: 15 November 2005

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http://www.redeemer2.com/resources/papers/evangelisticworship.pdf.
Accessed: 15 April 2006

King, M. 1998. An Exegetical Summary of Colossians Dallas: SIL

King, R.R. 2002. Telling God’s Story Through Song in Evangelical Missions Quarterly

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Lasor, W et al. 1996. Old Testament Survey Grand Rapids: Eerdmans

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Mbense, Z. 2006. Personal Interview. April

McCall, S; Milne, R.1999. Church Musicians Handbook Kingsford: Matthias

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http://www.thirdmill.org/answers/answer.asp/file/99765.qna/category/pt/page/questions/
site/iiim. Accessed: March 2006

Mhlongo, J. 2006. Personal Interview. June

Miller, G. 2006. Personal Interview. May

Nkosi, Z. 2006. Personal Interview. May

Ntsume, S. 2006. Personal Interview. June

Payne 1999 in McCall, S and Milne, R.1999. Church Musicians Handbook Kingsford: Matthias

Pritchard, G. 2006. Personal Correspondence. June

Rinquest, L. 2003. The Heart of Baptist Worship in Miller, G (ed.). South African Baptist
Journal of Theology, Vol 12. Cape Town: BUSA.

Roy, KB. 2002. Zion City RSA: The Story of the Church in South Africa Cape Town: SABHS

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Accessed: Early 2005

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.

Warner, G (ed.). 2006. Blending Worship

http://www.faithworks.com/archives/blending_worship.htm Accessed: 15 April 2006

Webber, R. 2006 in Warner, G (ed.). 2006. Blending Worship

http://www.faithworks.com/archives/blending_worship.htm Accessed: 15 April 2006

Wetmore, H. 2006. Personal E-mail Correspondence. May.

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Accessed: 15 April 2006

Scripture References taken from:

KJV: KING JAMES VERSION (1769) in Macsword 1.1.3a for Mac OSX.
NIV: THE HOLY BIBLE: New International Version. 2004. Cape Town: IBS
WEB: THE WORLD ENGLISH BIBLE (Public Domain) in Macsword 1.1.3a for Mac OSX.
THE AUTHOR’S OWN TRANSLATION OF THE GREEK TEXT