CHARACTERISTICS
OF HYMNS PERSONAL
I
was recently asked what my church’s hymn to contemporary congregational music
ratio is. I keep a running chart and continuously update it so I knew the
answer to that question; yet, it was apparent to me that the person asking did
not understand the meaning of the words, hymn and contemporary. Most people
would likely assume contemporary to mean in a modern style. Contemporary,
however, denotes an era or timeframe. If I were to ask of a contemporary of Mozart,
for example, one might respond with Haydn. Certainly, this is true, while a
contemporary of myself could be Carrie Underwood. To restate the question then,
I think it would be more appropriate to ask, “What is your church’s ratio of
hymns to modern music,” though even then, one must define a hymn.
My church is
about an 88% hymn-singing church. The problem many worship pastors might
experience is not a lack of singing hymns but rather which hymns they sing.
Many congregants have a wrong idea of what constitutes a hymn. There are
certain characteristics that hymns possess. The age of a song then does not
define it as a hymn or not a hymn. Of the hymns my church sings, 72% are what
refer to as timeless and 28% modern.[1] In my role as a worship
leader over the years, it has become clear that most people do not know what a
hymn is. The Apostle Paul tells the Colossians to admonish one another with
“psalms, hymns, and spiritual songs” (Col 3:16). There is then a difference
between hymns and other types of congregational music. I do not intend to delve
into the biblical difference between these three categories but only to give
specific characteristics of hymns. I will do so by defining first what a hymn
is not and then what it is. There are characteristics unique to hymns, both
sacred and secular.[2]
What It Is Not
First,
I would like to discuss what a hymn is not. To press against many people’s
preconceived notions, a hymn is disconnected from a style, an age of
composition, or an instrumentation. Hymns then could be freshly composed in
recent years or even weeks and might be employed with the use of modern
instrumentation rather than solely pianos and organs. The ideas many people
have of what a hymn is come from stereotypes. In considering hymn-writer, surely,
we might think of people like Isaac Watts (AD 1674-1748), often referred to as
“the Godfather of English hymnody.”[3] There are also, however,
modern hymn-writers. I, myself, am such a composer. There are also people like
Keith Getty and Matt Boswell who write theologically challenging,
thought-provoking, and deep hymn texts. Keith Getty’s In Christ Alone comes to mind. In such cases, we should rid
ourselves of the thought that hymns are always old and always sung with organ
accompaniment.
What It Is
To
define a hymn, I have four characteristics I would like to discuss that will
bring clarity to what a hymn is and how to define it. These characteristics are
not true 100% of the time but are doubtlessly exemplified in the overwhelming
majority of hymns.
Strophic
First,
a hymn is usually strophic. This might be a new term to some. Strophic form is
a term used to describe the organization of a piece of music. Many might argue
that strophic form and hymn form are synonymous, i.e. hymns are stalwartly tied
to strophic form. When we read music from a hymnal, an obvious realization is
the stanza designation;[4] there are usually multiple
stanzas throughout which apply the same melody. Sometimes a refrain is added.
Nonetheless, each stanza of text uses the same melody as the previous and the
next. Strophic form is common throughout most hymn compositions.
Metrical
Second,
a hymn is metrical. Here I do not refer to only musical meter, for certainly
there are unmetered hymns. I am specifically referring to textual meter. The
first book ever published in the United States was The Bay Psalm Book. It is not a hymnal but rather a psalter, a
collection of Psalms designed for congregational singing. In the 17th
century AD when this psalter was published, congregations would have known
approximately thirty tunes to which they would set the texts in the psalter. A
textual meter is essentially a combination of the number of syllables in each
line of text or phrase, which also coincide with the musical phrases in the
tune to which it is set. For example, John Newton’s Amazing Grace possesses 8 syllables in the first line of text, 6 in
the second, 8 in the third, and 6 in the last. The textual meter then would be
8.6.8.6. One could take any other 8.6.8.6 tune and interchange it with any
8.6.8.6 text (such as Amazing Grace).
For centuries, this was a common practice, particularly in Protestant worship.
There were three primary meters employed during the era of The Bay Psalm Book: common meter (8.6.8.6), long meter (8.8.8.8),
and short meter (6.6.8.6). There are far more meters utilized today; yet, hymns
are largely still metrical. If a tune of text has a metered pattern, it could
likely be a hymn.
Hymnic
Language
Third,
hymns utilize hymnic language. What I mean by hymnic language is a clear and
unapologetic use of biblical and theological language. The tendency in modern
music is to shy away from words and texts that might confuse unbelievers or new
believers. As a sensible means of gospel communication, there is nothing wrong
with adapting language. My caution, however, would be that certain
gospel-centered words exist in the text of Scripture because they are the most
appropriate in clear and right theology. Words like sanctification,
propitiation, incarnate, Godhead, and triune leave little room for doubt. While
congregants might not be as familiar with such words and may even need
explanation, these words offer teaching opportunities for both the worship
leader and the congregation. Many modern hymn-writers do not avoid using such words
and terms but rather use them abundantly. Take the second stanza Matt Boswell’s
Come, Behold the Wondrous Mystery,
for example:
Come
behold the wondrous mystery,
he the perfect Son of man.
In his living, in his suffering,
never trace nor stain of sin.
See the true and better Adam
come to save the hell-bound man.
Christ the great and sure fulfillment
of the law; in him we stand.
he the perfect Son of man.
In his living, in his suffering,
never trace nor stain of sin.
See the true and better Adam
come to save the hell-bound man.
Christ the great and sure fulfillment
of the law; in him we stand.
At first glance, one might not
understand the concept of Christ as the “true and better Adam;” yet, this
language creates a wonderful teaching moment where, through the text, a worship
leader can discuss the fact that just as sin entered humanity through Adam,
righteousness entered God’s people through Jesus Christ. Using such language
could be indicative of a hymn.
Easily
Singable Melodies
My
final suggestion in defining a hymn it usually contains an easily-singable
melody. It would not take much to think of a hymn with a comparatively
difficult melody or range, although this is the exception rather than the rule.
Since most congregants are not trained musicians, hymns are designed for easy
use in corporate worship. Related to metered text and musical phrases, hymns
often have similar lines. There is commonly a striking similarity between the
first and second lines; the third line then usually deviates from the contour
(often rising in pitch); the fourth line and phrase is usually precisely the
same as the second. Writing music in such a manner allows congregants to
understand and sing the melody quickly. Where a modern song might take two or
three times for a congregation to feel as though they know it well enough to
sing confidently, a hymn might be understood by the congregation after hearing
only the first stanza. I would also suggest applying the text of a new hymn to
an already familiar tune so that when the new tune is introduced, the
congregation already has some experience with the hymn. The easily-singable
melody is a striking characteristic of a hymn.
Hymns: An Excellent Tool for Corporate Worship
It
saddens me personally that churches often neglect hymn-singing in corporate
worship. There is great value in singing hymns, not only musically but also
theologically. While congregational music should not be Christians’ primary
source of theological teaching, frequently and subconsciously, it is. Worship
leaders should take seriously then the call to not only lead congregational
singing but to also aid in the spiritual formation of worshipers. Hymns are an
excellent tool for corporate worship theologically and pragmatically. The
utilitarian use of hymns allows congregants to sing (and, thus, learn) deep
theological truths in a bold manner. The characteristics I have offered should
shed light on what a hymn is and what it is not. With these characteristics in
mind, one might realize that their church sings more hymns than perhaps they thought.
There exists a plurality of ways and styles to sing and play hymns. With that
in mind then, it is probably wise to consider hymns even more as part of a
church’s worship experience, musical formation, and spiritual formation.
[1] The timeless designation has to do with the age of
the hymn and whether it is in my denomination’s hymnal. Modern hymns are hymns
written primarily in the last fifteen years by living composers and cannot be
found in most hymnals.
[2] Secular hymns have existed for centuries, the tunes
of which are often also utilized in Christian worship.
[3] “Isaac Watts,” Wikipedia,
accessed March 12, 2018, https://en.wikipedia.org/wiki/Isaac_Watts.
[4] Hymns use stanzas rather than verses.
