Key Insights in Why Johnny Can’t
Sing Hymns by T. David Gordon
by
Wilhelmus
In
Why Johnny Can’t Sing Hymns[i],
Dr. T. David Gordon (professor at Grove City College), tackles the question of
what types of music are most appropriate in the worship of the Christian
Church. Music has always played a vital
role in Christian worship. The topic of
which music to use in worship is a very hot one. Gordon’s book is a much needed addition to
the discussion. (In fact, I hesitate to
even use the word discussion, because
often the question of what music to use in the worship of the Church is not a
real discussion at all. It often comes
down to a worship war waged merely on
the basis of personal taste or intuitive commitments that everyone feels
strongly about one way or the other but no one manages to intelligently
articulate. Sadly, there is
comparatively little critical thought or well-reasoned debate on the question
of music in the Church, no matter what the source, or what view is held.) Gordon discusses content (the words to be
sung) and also form (the music itself.)
I believe what sets this book apart, what makes it so valuable, is
Gordon’s careful thought and study on the question of the form of music
itself. This is so often ignored or
dismissed as a mere matter of personal taste unimportant for careful
reflection. Refuting “aesthetic
relativism”, (the view that all forms are equally beautiful, or that there is
no superiority of one form of music over others for worship in the Church,) Dr.
Gordon writes from the perspective of someone who loves the old hymns of the
Church which have been composed down through history, who favors instrumental
accompaniment (within certain practical and aesthetic guidelines which he
articulates in the book.) Though I do
not see eye to eye with Gordon on everything that has to do with music in the
Church, his book is a great resource as an introduction to critical thought on
the currently debated topic of musical selections for worship in the
Church. I would recommend it even for
those churches which just sing Psalms or do not make use of instruments. Even in their case, there are important
considerations to be made over what metrical versions and what musical settings
are appropriate for the worship of the Church.
After
laying some philosophical groundwork and establishing why it is important to
reflect critically on the music of the Church, Gordon comments on the
difficulties that younger generations have in relating to the great hymns of
the Christian faith. Throughout the book
he backs up, (or, at least, he skillfully attempts to back up) all of his
arguments with objective evidence. I
think he does a very thorough and persuasive job at it. One very helpful aspect of the book is the
criteria which Dr. Gordon lays out to provide guidelines for deciding what
music should be utilized, and what should be rejected, when it comes to
Christian worship.
I
would like to highlight those key criteria which Dr. Gordon identifies as
criteria for what music (the words, tunes, and instruments) should be
used. These criteria may serve as
guidelines to help determine whether or not a particular form of a hymn or song
is appropriate for worship in the Church of God. In my opinion, his criteria are by no means
exhaustive, (meaning that more criteria should be added, for example, what
about the Psalms?) Yet they form a good
starting point for many churches today considering the issue of music. I think this summary could be useful in
spurring further reflection, and I also hope that some who read my summary of
his criteria will go ahead and read the book.
Here they are (in my words):
1. Timeless
quality of the musical setting[ii]
Was the music to which the song is sung
written centuries ago and has it been appreciated by many successive
generations in the Christian Church? If
it was composed more recently, does it sound like it could have been? Can we expect our grandchildren to sing the
same tune in worship? What about two
hundred years from now—will Christians still be using this music? The point here is that Christianity is an old
religion. Its doctrines are
ancient. Its God is without beginning
and without end. Its gospel promises to
sinners everlasting life with the eternal God on his terms. The music that is selected to worship him
needs to support this message by having a timeless quality to it. If a tune sounds like it will be outdated ten
or twenty years from now, its form is detracting from the unchanging message of
the gospel, (which worship music is meant to support and carry.)
2. High
quality lyrics[iii]
If we took away the music, would these
lines (the lyrics) make a good Christian prayer? Would we say this prayer in public
worship? The historic hymns of the
Church are of a high devotional quality.
They are often quoted as illustrations in sermons and Christian
books. They may be used as prayers in
public or in private. What about the
songs we are suggesting for use in Christian worship? Do they share this quality, or are their
words too mundane, too juvenile, simplistic, and too empty to be used as public
prayers?
3. Engaging
the Mind[iv]
Do the songs we sing in worship engage
the mind, speaking intelligently of God’s mighty works and his character
attributes? Or do they go straight for
sentimental emotionalism? Christian
worship should engage the whole person, body and soul, including the intellect
and emotions. Following in imitation of
the Psalms, the hymnbook of Israel, the most prevalent hymns of the Christian
Church (when songs have been written in addition to the Psalter) have followed
the same patterns as the Psalms. They
praise God not just with a vapid emotionalism, but with detailed thinking on
his works and attributes. How about our
songs? Do they engage the mind as well
as the emotions?
4. Formality[v]
Acknowledging
that we live in an extremely informal culture, Gordon notes that there are occasions
when modern Americans still get formal.
He uses the example of weddings.
Most Christians even today would dress formally for their own wedding,
and would even choose (at least one or two) formal-sounding hymns or musical
pieces to mark the importance of the occasion.
But if formality is appropriate for a wedding, why not for the most
important meetings this side of glory, when we come together to meet God and to
pay homage to him, when Christ is met by his bride? Likewise the musical selections should
reflect the high importance of that awe-inspiring occasion which is weekly
public worship on the Lord’s Day.
5. Suitability
of the music for congregational singing[vi]
Is the music written in such a way that
is conducive to the whole congregation singing it together? I am not listing this point in the same order
that it occurs in the book, but I wanted to bring it out as a criterion because
it is very useful. Songs that were
written to be sung by a large chorus (and a congregation is a chorus) are within
a reasonable vocal range and not too difficult for the singers. They should ordinarily be presented with a
musical score and harmonic parts to aid those who don’t know the tune well but
can read music. (This point of Gordon’s
is near to my heart. One of my pet
peeves is lyrics presented on the wall without the music! How am I going to sing the correct bass
part?) Gordon also gives a pointed
critique of contemporary worship’s obsession with the guitar. While the guitar is a fine instrument, Gordon
ably points out that the guitar is better suited to accompany a solo voice or
just a few singers than a large chorus of singers. It’s either too soft to be heard over the
chorus, or it drowns out the singing if you crank it up. Its particular rhythm and chords both limit
the hymns that may be used and rule out singing in 4-part harmony. Gordon favors the use of instruments which
are musically better suited to accompany the singing of a large chorus (the
congregation in this case) such as the organ and piano. This ought to be an important consideration
for churches which choose to make use of instrumental accompaniment.
Finally, Gordon gives advice on what to
do about younger generations that have no taste or no familiarity with music
that fits the above criteria. He asserts
that they may be taught to sing and appreciate music which now seems foreign to
them, with the right amount of patience and careful instruction. He provides insightful tips from a pastoral
perspective on how to go about making the change, how to teach the younger
generation to love and sing hymns[vii].
Why Johnny Can’t Sing Hymns
by T. David Gordon is heartily recommended as a welcome addition to the
discussion of what music should be used in the churches. His keen arguments are persuasive. They will provoke thoughtful reflection on a
topic which too often only elicits emotional knee-jerk reactions. It is recommended for all Christian Churches,
no matter what their current worship music entails.