Tag: Praise and Worship (Page 3 of 3)

Praise Songs and Higher Times

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Why Men have Stopped Singing in Church

In a recent post, David Murrow explains “[w]hy men have stopped singing in church.”  He says that there are some positives in the switch from hymnal to the projection of lyrics onto a screen in front of the sanctuary, but he concludes that “the negatives are huge.”

One of these negatives is that “[s]ongs get switched out so frequently that it’s impossible to learn them. People can’t sing songs they’ve never heard. And with no musical notes to follow, how is a person supposed to pick up the tune?”

[W]e went from 250 songs everyone knows to 250,000+ songs nobody knows (Murrow).

 I experienced some frustration this past Easter for this very reason.  The songs that were chosen for the Easter service were all appropriate thematically, but almost all were new to me.  I’m pretty quick to catch onto songs, so it wasn’t really an issue of not being able to sing them.   I am obviously not the same as the men who don’t sing in the Murrow post.  But there was something else that I realized that we’ve lost since hymnals have become obsolete.

 And it has to do with the way we view time.

Higher Time

 In our culture, we understand time to be exclusively chronological.  So much so that many who are reading this are saying, “Well, what the heck else would time be?”  Chronological time, or “secular” time, is the idea that one thing happens after another.  There is no meaning behind this ordering of events–it is ordinary time.

 Higher time (kairos) is infused with meaning.  It doesn’t replace ordinary time but complements it.

Higher times “gather and re-order secular time” (Taylor 55).  If you think of chronological time as a long rope, higher time takes that rope and ties it in a knot so places on the rope that are usually further apart, are now touching.  These “kairotic knots” (54) meaningfully reorder time.

 So, your birthday 2013 is closer in kairos time to your birthday in 2012, than it is to the other days that lie between them.   This is because your birthdays all share the same meaning and the ordering of kairos time is one of meaning.

 In the secular world, this is the only sort of time there is and I think we lose something if we view time as a mere sequence and neglect this other way of experiencing higher time.

Praise and Worship Singing and Higher Times

 What does this have to do with praise and worship songs?  I think the songs we sing in church can go a long way in helping us to experience higher time.

 Back when we sang from a hymnal, we’d sing the same songs every Easter  In this way, the songs helped to connect all this Easter with every Easter I was alive for.  But all these Easters were connected to every Easter all the way back to the first when Jesus asked Mary Magdalene, ” Who were you seeking?.”

 The principle is the same with Christmas. We also sang the same songs at every funeral, and after the offerings were collected.  The songs linked these events to each other in higher time.

 The modern, secular view of reality is an impoverished view.   This view of reality ought to be countered at every point if people are going to experience a life of fullness available in Christ.  Certainly, the songs that we sing can help us to experience time as meaningful, but all aspects of communal worship can be looked at.

Perhaps a little more attention given to the traditional church calendar is worth a look.

In my series The Poetry of Worship, offer ways we can improve the lyrics of the praise and worship songs we sing.  More importantly, I explain why we ought to.

 

 

Praise Songs: Meaningful Metaphors

Photo by Niklas Hamann on Unsplash

Katheryn Scott’s “At the Foot of the Cross” contains these words:

Trade these ashes in for beauty

And wear forgiveness like a crown

Coming to kiss the feet of mercy

I lay every burden down

At the foot of the cross

I’ve sung this song quite a few times and I have never sung it in the same way twice.  That’s a good thing; we won’t always experience good poetry, good art of any kind, the same way.  We will, however, experience bad poetry the same way every time.

I’ve read Hamlet many times and it still surprises me.  The same can be said for the songs of Josh Garrels and the book of Genesis.  The best church songs will have the same quality.  The presence and power of the figurative language contribute to the effectiveness of a song to bring some listeners into worship.

“At the Foot of the Cross”

 One of the first times I sang “At the Foot of the Cross” I was caught by the idea of trading “ashes in for beauty.”

The next time I noticed that this phrase was preceded by the word “these.”  This demonstrative pronoun puts the ashes  I’m singing about right here–I walked into church covered in them.  In Biblical language, to wear ashes, or “sackcloth and ashes,” is to demonstrate grief or repentance; importantly, it is an act of humility.   This song, if sung honestly is a song of confession where the worshiper acknowledges his or her sin and the need for forgiveness.

By grace, these ashes are exchanged for beauty the song reminds us, for we are transformed to royalty as a crown is placed upon our heads.  We aren’t just forgiven but received as children of the King.  This transformation occurs, not by our merit, but by the death of Jesus on the cross.Praise 1

 We sang this song in church again a few weeks ago.  I was caught by the line “Coming to kiss the feet of mercy.”  In Luke 7:38, there was a woman who had “lived a sinful life”–Luke doesn’t say she was a prostitute, but this is certainly likely.  When I sing this line, I am placed in the position of a prostitute.  This is the point and the power of the line.  I cannot judge others when I remember that my sin is no less than that of the woman in Luke.  But my guilt, as well as the woman’s, is, nonetheless, erased by Jesus death on the cross.  She wept and wet his feet with tears and wiped them with her hair.  This is the response that this line can evoke in those who sing it–overwhelming gratitude.

This is only one verse: there are two more that are just as powerful.

Not all the songs that we sing in church use metaphors like this–nor need they.  Metaphor and allusion are but two tools that the poet might use.  And there are many tools.  However, when figurative language is used in a song, it should work to achieve the purpose of the song–in this case, lead those who sing it into confession–an awareness of one’s guilt and gratitude in complete forgiveness.

This is an example of how figurative language (and allusion) can work powerfully in a song.

But then there are those praise and worship songs where the figures of speech get in the way of, well, praise and worship.

Bad Metaphors

Here are some of the metaphor issues that completely distract me from engaging with the song:

  • one dimensional comparisons just lie there with no meaning to explore in the comparison
  • cliché–these metaphors are so overused they’ve become meaningless
  • barrage–when figures are so numerous that there is no opportunity to receive them
  • metaphor mosaic–when figures are so completely unrelated that I don’t know if we are talking about clothing, branches,  wind, or wineskins
  • And then there are the dreaded mixed metaphors

For more of the tools to write (and select) Praise and Worship songs for corporate worship, please check out The Poetry of Worship.

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