Searching for the "Good Song" Determining the quality of Christian songs within the polarities of worship by Johanna Gertrud Tönsing Submitted in fulfilment of the academic requirements for the degree of PhD in Practical Theology (Hymnology) in the Faculty of Theology of the University of Pretoria August 2013 i © University of Pretoria Summary This thesis tries to answer the question what Christians should be singing in worship and why. The situation in many congregations is one of conflict around music and worship styles. The question is how these can be bridged and how worship leaders can be guided to make responsible choices about what is sung in Sunday worship. It is argued that what is sung, strongly influences the theology and faith of congregants. The thesis locates the discipline of hymnology within a hermeneutical approach to practical theology and tries to develop a theory to answer the question how to determine quality in Christian songs. The current discussions in practical theology and hermeneutics are examined for their relevance to hymnology, particularly some of the insights of Habermas, Gadamer and Ricoeur. Here particularly the idea of “dialogue” and “fusion of horizons” becomes relevant for bridging the divides in the conflicts around worship music. The dissertation examines biblical and church historical answers to the question of whether and what Christians should be singing. It becomes clear that the answers have varied widely during the course of church history, sometimes swinging between extremes. The next chapter looks at songs in the context of the worship service, their function within various parts of the service, and particularly looks at the dialectical poles of worship which should be kept in balance. Musical perspectives are discussed looking at ways to help people not formally trained in music to evaluate tunes. This theoretical section leads to a catalogue of criteria for “Good songs”: These are criteria for quality, for “Good Text”, such as biblical and theological value, how easily it is understood, whether it takes human experience seriously and its poetic value. Criteria for “Good Tune” include its level of difficulty, how heavily it depends on accompaniment, and its balance between the familiar and the interesting and new. The third category of criteria evaluate the match between text and tune in mood, rhythm and climax. The last category looks at the balance in the song between different polarities, such as, amongst others, the balance of past and present, cognitive and emotive elements, between challenge and affirmation, and between universal and particular emphases. This list of criteria is then tested on three songs each of four different songwriters: two traditional and two contemporary: Paul Gerhardt, Charles Wesley, Graham Kendrick and Noel Richards. In each case a background is given, an overview of their work as a whole and a detailed analysis of each song. In the end the criteria themselves are evaluated as to their usefulness and user-friendliness. Suggestions are then made how these criteria can guide worship leaders in their choices of songs for the Sunday service. Key Words Christian songs, hymns, hymnology, Praise and Worship music, worship wars Luther and Music, criteria, quality, balance, emotion in music. 2 © University of Pretoria Preface: This thesis is the culmination of a lengthy process of research which involved the help and support of various people. I wish to acknowledge the support of my supervisors at the University of Pretoria, Prof Cas Vos, and Prof Hennie Pieterse, and after the retirement of the latter, Prof Cas Wepener. I also thank the secretaries and support staff at the University of Pretoria. I thank Prof Reino Ottermann for his thorough work in proof-reading this thesis. I thank many other people, choir and worship team leaders, musicians, pastors and lovers of hymns who lent me material, helped in finding references and books, and spent time in discussion with me around the question of quality criteria for the songs we sing. I thank the past and present librarians at the Lutheran Theological Institute in Pietermaritzburg, where I am based, especially Ms Annalise Zaverdinos for help in sourcing material and the use of interlibrary loan. I also thank the librarians at other institutions of the Pietermaritzburg Cluster of Theological Institutions for help in obtaining useful material on worship. I want to thank my family for the support, my father for the final proof-read and my husband Detlev for help with computer programmes, layout and printing. For technical reasons a blank page has been added at the end of most chapters. The content of this thesis is, however, solely my responsibility: I herewith declare that this whole thesis, unless specifically indicated to the contrary, is my original work. 3 © University of Pretoria TABLE OF CONTENTS CHAPTER ONE – INTRODUCTION TO THE THESIS 1. 1. Actuality 1 1.2. Research problem 2 1.3. Hypothesis 4 1.4. Methodology 4 1.5. Exposition of thesis 7 CHAPTER TWO : THEORETICAL BACKGROUND 2.1. Study of communicative actions 8 2.2. The relationship between theory and praxis 10 2.3. The concept of communication, dialogue and hermeneutic theory 12 2.4. The contributions of Habermas, Gadamer and Ricoeur 14 2.5. The Zerfass Model – the movement between theory and praxis 18 2.6. A Theory to help guide choices and evaluate songs 21 CHAPTER THREE – DEVELOPING A THEORY TO STUDY SONGS BIBLICAL AND CHURCH HISTORICAL PERSPECTIVES 3.1. Introduction 23 3.2. Biblical perspectives 23 3.3. Church historical perspectives 29 3.4. Conclusion from historical overview 43 CHAPTER FOUR – DEVELOPING A THEORY TO STUDY SONGS LITURGICAL AND SOCIAL PERSPECTIVES 4.1. Introduction 45 4.2. Terms for the worship service and definitions of worship 46 4.3. Liturgy as dialogue 48 4.4. The aim of worship 49 4. 5. Social and cultural aspects of worship 50 4.6. Elements of worship 56 4.7. Defining the polarities of worship 63 4.8. Conclusion 78 CHAPTER FIVE – DEVELOPING A THEORY TO STUDY SONGS MUSICAL PERSPECTIVES 5. 1. Perspectives on music for untrained readers 79 5.2. Musical styles and their suitability for worship 81 5.3. Elements of a tune that determine its appeal and level of difficulty 83 5. 4. Case studies : comparisons of song-books 91 5.5. Conclusions 100 4 © University of Pretoria CHAPTER SIX – DETERMINING CRITERIA FOR “ GOOD SONGS” 6. 1. Different ways of defining “Good” 103 6.2. Making connections: possible criteria for “ good songs” 111 6.3. Criteria for a Good “Integrative” Song 112 6.4. Conclusion 130 CHAPTER SEVEN – TESTING THE CRITERIA 7.1. Process 132 7.2. Summary of Criteria 133 7.3. Tools and Measurements 134 7.4. Choice of Song-writers and Songs 143 CHAPTER EIGHT - PAUL GERHARDT (1607- 1676) 8.1. Background and Life History 145 8.2. Overview of Work 146 8. 3. Motivation of choice of songs 148 8. 4. Evaluation of O Sacred Head (O Haupt voll Blut und Wunden) 149 8.5. Evaluation of Commit the ways you travel (Befiehl du deine Wege) 162 8.6. Evaluation of The Golden Morning (Die güldne Sonne) 174 8.7. Evaluation of Gerhardt’s Work within his context 184 8. 8. Evaluation of Gerhardt's Work for us 185 CHAPTER NINE - CHARLES WESLEY (1707-1788) 9.1. Background and Life History 188 9.2. Overview of Work 189 9.3. Motivation of choice of songs 192 9.4. Evaluation of Hark the Herald Angels Sing 193 9.5. Evaluation of Love Divine, all Loves Excelling 202 9.6. Evaluation of And can it be that I should gain 217 9.7. Evaluation of Wesley’s Work within his context 228 9.8. Evaluation of Wesley’s Work for us 229 CHAPTER TEN - GRAHAM KENDRICK (1950 - ) 10.1. Background and Life History 231 10.2. Overview of Work 232 10.3. Motivation of Choice of Songs 235 10.4. Evaluation of Lord the light of your love (Shine Jesus, Shine) 236 10.5. Evaluation of Meekness and Majesty 245 10.6. Evaluation of My Lord what love is this (Amazing Love) 254 10.7. Evaluation of Kendrick’s Work within his context 262 10.8. Evaluation of Kendrick’s Work for us 263 5 © University of Pretoria CHAPTER ELEVEN - NOEL RICHARDS (1955 - ) 11.1. Background and Life History 265 11.2. Overview of Work 266 11.3. Motivation of choice of Songs 267 11.4. Evaluation of You laid aside your majesty 268 11.5. Evaluation of By your side 277 11.6. Evaluation of Filled with Compassion 285 11.7. Evaluation of Richards’ work within his context 293 11.8. Evaluation of Richards’ work for us. 294 CHAPTER TWELVE – CONCLUSIONS 12.1. Review of Aim and Criteria 296 12.2. Evaluation of Criteria for “Good Text” 297 12.3. Evaluation of Criteria for “Good Tune” 298 12.4. Evaluation of Criteria for “Good Text-Tune Match” 300 12.5. Evaluation of Criteria for “Balance of Polarities” 301 12.6. Conclusions and Pointers for Worship Leaders 301 BIBLIOGRAPHY 1. Hymnals and Songbooks 304 2. Audio Resources 305 3. Websites 306 4. Books and Articles 309 6 © University of Pretoria 7 © University of Pretoria CHAPTER ONE – INTRODUCTION TO THE THESIS 1. 1. Actuality The question of music in the Sunday service is a burning issue for many people and in many congregations. Few issues in congregations generate so much emotion as the service and its music; these touch the heart of people's faith life. Many people are attracted to services, or put off going, by the kind of music that is played and sung, and their walk of faith is interwoven with songs that have shaped and sustained their faith.