"Do You Hear the People Sing?"

Have you ever felt the power of a congregation’s voice singing together in worship? Or have you noticed the difference when that voice is stifled or absent? What factors contribute to how a congregation sings in worship?

Throughout my life I have had the frequent privilege and responsibility of leading congregational singing, and I have experienced firsthand the impact of excellent singing from both the pew and from the organ console. The value of congregational singing in worship, the role it plays in our faith formation, and the importance of excellent leadership are vital questions for churches, especially for practicing church musicians, to consider: how are we stewarding the gift of congregational song?

Why sing?

Why should a congregation raise their communal voice to sing in worship? First, Scripture frequently commands us to sing in our worship of God. Part of our Christian duty is to offer God unceasing praise: “Sing to the LORD; praise his name; proclaim his salvation day after day” (Psalm 96:2). John Calvin’s preface to the Genevan Psalter of 1543 connects singing to spoken prayer in worship: “As for public prayers, there are two kinds. The ones with the word alone: the others with singing.” Singing is active participation in worship.

Second, our collective voice, while offering praise to God, also serves our neighbor. Calvin’s Article concerning the Church of Geneva, 1537 states that congregational psalm-singing was to be an offering “for the edification of the church.” Relatedly, singing together is a powerful way to unify believers: congregational singing opposes a culture that exalts individualism. When we sing, we affirm the gathered community of believers in worship; congregational singing forces us to acknowledge one another. Singing while hearing one person singing the bass part behind you and a neighbor in your pew with a steady soprano voice encourages one’s worship and therefore strengthens one’s faith. We are not alone, but members of a community of believers, “friends in faith who follow Jesus,” as Dolores Dufner has penned.

Yet another purpose of singing is to instill what we believe. Calvin describes music as a tool, and therefore regulated singing, using only Scriptural texts—specifically, the book of Psalms. Recent scientific research has shown the ties between music and memory. Long ago, God instructed the Israelites to learn a song as testimony of His saving acts, to be passed to future generations. He commanded Moses: “Now write down this song and teach it to the Israelites and have them sing it, so that it may be a witness for me against them” (Deuteronomy 31:19). We have many good reasons to sing together in worship. Above all, though, we sing to glorify God and enjoy Him forever—"the chief end of man.”

Singing as faith formation

The content of what we sing collectively, though offered from our hearts outwards and upwards, shapes and forms our theology, impacting our spiritual growth. An ancient teaching of the church, “lex orandi, lex credendi,” means that our prayer—that is, our worship practices—shapes our belief. John Witvliet’s description of a “song diet” is apt: the words we sing in worship shape our doctrine, our beliefs about the character of who God is and who we are. For example, a text can reinforce the existence of the Trinity; the incomprehensible nature and yet the abiding presence of God; the gathered body of Christ; our responsibility to our neighbor—either sitting next to us in the pew or far across the globe. In this way, we carry the gift of hymns from the early church, such as by the fourth-century poet Prudentius: “Let the heights of heaven adore him; angel hosts, his praises sing: powers, dominions, bow before him…” These ancient words, in hand with texts from living authors, such as Brian Wren—“We come, with all our heart and mind, your call to hear, your love to find..”—are not simply texts on a page. They transcend time and place, carrying the weight of truth that unites us with believers across generations – a cloud of witnesses.

Not only do texts shape and form our Christian faith, but the tunes we choose to sing are also critical. Tunes can emphasize and even interpret the text or contradict it entirely. Beautiful melodies and well-crafted harmony paired with worthy texts, rich with meaning, have potential to be what Calvin described as an offering “of human intelligence.” Our generation has access to an enormous treasure of song. What churches choose for their members to sing—the words and music placed on their lips—is ultimately an enormous responsibility, both for the worship of God and for our own spiritual formation.

Excellent leadership bears fruit

“Sing lustily,” wrote John Wesley, the founder of the Methodist church. Leading a congregation to “sing lustily” does not just happen; it takes years of musical training and plentiful opportunities for development. In order for a congregation to sing well, that is, fully participating with confident desire, it is critical to select appropriate hymns, psalms, and songs. A “song diet” must not be too varied or, like a revolving door, few songs, if any, will be retained in a believer’s memory. A song diet must be balanced, implementing repertoire from both the saints of old along with the best new songs and hymns available, resisting the worldly notion that “new” equals “better.”

After the music is chosen, the leader and the instrument employed are primarily responsible for encouraging and inviting the congregation to sing. Here, musical choices arise: setting proper tempos; establishing clear introductions; selecting a melodic range appropriate for the average human voice; allowing singers to breathe between phrases; choosing accompaniment sensitive to and supportive of the text; implementing dynamic and harmonic variety. Effective accompaniment sustains and supports, rather than overwhelms, the singing congregation. These musical choices have the creative potential to open us to the beauty of God’s character as we sing together.

A quote hangs next to the music building practice rooms from 19^th century organist, theologian, and physician Albert Schweitzer: “If you are called upon to play a church service, it is a greater honor than if you were to play a concert on the finest organ in the world…thank God each time when you are privileged to sit before the organ console and assist in the worship of the Almighty.” Church musicians are given a tremendous responsibility, and they must lead with wisdom and humility. The fruit of effective leadership can be heard in the robust singing voice of the congregation.

Stewarding our congregational song

Why we sing, what we sing, and how we are led to sing together in worship are foundational questions for churches to ask. These questions will be answered with resounding—or limp—songs of praise from the congregation’s voice. Congregational singing contributes not only to our own faith formation; healthy and vigorous congregational singing is an illuminating witness that can be passed on—a legacy, an invitation, for future generations of believers. We might consider this phrase from the fourth century Te Deum Laudamus hymn, versified by Ignaz Franz in the 18^th century: “Through the church the song goes on.”

In the classroom, I often conclude a semester of teaching with this poignant phrase. It comes after a string of images in the hymn text: a glorious procession, “white-robed martyrs,” “prophets swelling the loud refrain.” For the song of the church to go on, churches must steward it. Stewarding congregational song begins with asking “why sing?” It involves training musicians to carry the torch of leadership: to wisely select and lead hymns, psalms, and spiritual songs; to shape, cultivate, and develop an environment where congregational singing flourishes. May the song of the church go on—may the singing voice of the congregation echo from the church rafters. Soli Deo Gloria.