The Psalms’ Quiet Case For Musical Diversity

“But do we have any precedent in the Bible for incorporating diverse styles of worship?”

The question was an unexpected one. One reason plural leadership is so good is because invariably one elder will come up with a question no one else is thinking of. The rest of us were just assuming that it was right and good to expand our church’s styles of musical worship to better reflect our diverse congregation. It seemed to fit with the Revelation 7:9 vision and with the fact that the New Testament advocates generally for Psalms, hymns, and spiritual songs (Col 3:16), but otherwise seems to leave the details of musical worship up to the wisdom of the local churches – assemblies which were no longer just Jewish, but were fast becoming also Greek, Roman, Scythian, Persian, etc.

The question got me thinking. How much of a case is there in the Bible for the practice of incorporating diverse styles of music in the regular worship of our churches? After percolating on this for a number of years, I’ve become more and more convinced that a quiet but convincing biblical case can be built that God delights in receiving worship in the many musical styles of the world, just as he delights in receiving worship in the many languages and cultures of the world. And that this case can be built from the hymnal of Israel and the early church – the Psalms. This case is built on the history and context of the Psalms, as well as on the nature of music itself.

When it comes to its nature, music is much like language or culture; namely, like a cloud. Music does not sit still. It cannot. It’s always slowly changing and moving, shifting and developing in ways that clearly reflect where it’s been yet defy even the most skillful predictions of where it’s going next. With music, just add time and you will inevitably get substantive changes in method and style. Seeking to ‘freeze’ a musical tradition as that which truly represents a people is just as futile as trying to ‘freeze’ a language. You can protest all you like, but they will go on changing. They are clouds, after all, not mountains. Their nature is a moving one.

This is where the history and the context of the Psalms come in. We are told that Moses is the author of Psalm 90, which would make it the earliest psalm that we have. Moses was likely living and writing around 1400 BC. Of course, the most famous psalmist is King David, writing 400 years after Moses, around 1000 BC. Yet other psalms are attributed to Hezekiah (Ps 46-48), who was living around 700 BC, 300 years after David. The latest psalm seems to be Psalm 137, “By the rivers of Babylon,” which clearly speaks of the Judean exile to Babylon which took place in the 500s. That means there’s a span of roughly 900 years between the writing of the earliest and the latest Psalm.

That’s a lot of time for a given musical tradition to undergo all kinds of natural internal development. Were you to time travel, you’d likely recognize some elements of the music of the Judean exiles all the way back in the music of Moses. But Moses – were he to travel with you to Babylon – would probably be a little offended at what had become of his beloved Hebrew musical tradition. This is because the changes would have been considerable, perhaps as great as if he were encountering the music of a foreign nation.

Add to this the fact that musical style, again, like language and culture, does not exist in a vacuum. Musical styles borrow from one another, just as languages borrow vocab from their neighbors. Instruments and melodies get adopted from one culture to another at perhaps an even faster rate than words since music itself has a quality that seems able to transcend other natural differences. This is why it’s sometimes been labeled “the universal language.” This means that whatever musical traditions Abraham’s household brought with them from Ur probably picked up Canaanite/Hittite influences in the several generations that passed until Joseph’s time. After this, 400 years of Egyptian sojourn and slavery would have made its own significant imprint on the musical style of the Hebrews by the time Moses got to writing the first psalm. Once back in the promised land, another 400 years of musical mingling in Canaan brings us to the time of David. And the centuries of monarchy would have had their own cross-pollination. Finally, it’s not far-fetched to assume that Jewish music would have been influenced dramatically during the exile. Just remember what happened to the Hebrew language.

So, when the Psalter is finally finished in its current form, post-exile, the Psalms represent roughly 1,000 years of the natural diversity that emerges within one musical tradition – as well as the added diversity of external influence from at least Mesopotamian, Canaanite, and Egyptian musical styles. The finalized Psalter, before its melodies were lost, would not have been a ‘pure’ representation of the Jewish ethnic musical style. Instead, it would have been a collection of songs that represented a Jewish synthesis, one representing a long absorption of melodies and styles from many centuries, geographies, and cultures.

Perhaps a Jew in exile singing the Psalms of David would feel similar to how we feel when singing O Come O Come Emmanuel, one of the oldest melodies that we still sing in Evangelical churches. The song’s lyrics are in fact much older, but the earliest record of its current melody comes from France, about 600 years ago. Hum the melody of this song to yourself and notice how it seems to be from a different world. That’s because it is from a different world. It may be a familiar part of our Western European Christian tradition, but every time we sing it we are singing a song from a very different time and culture. For an even older tune, listen to a song from 1700 years ago, Phos Hilaron. Then compare these old melodies with the music of today. Even if you cut out the warp-speed mutations that happened to music in the 20th century, it’s stunning how diverse music can be in one religious tradition.

What’s my point? Essentially, the Psalms are evidence that the songbook of the people of God was one that originally contained a rich diversity of musical styles. We can know this because of the nature of music and because of the history and context of the Psalms themselves. Apparently, God ordained that his people, for centuries, sing diverse melodies, some of which would not have felt like the stirring tunes of their particular generation, but rather the music of other peoples and other centuries. In this, we have a quiet case for using diverse musical styles in our churches.

This really matters, though we don’t typically feel how much it matters until we are ourselves a minority worshipping in the melodies of other cultures and lands. One of our African American pastors recently stood up and shared, in tears, how much it ministered to his soul that our church choir had sung a song from the black gospel tradition when the Anglo-Irish melodies of our reformed circles are our more standard fare. Back in Central Asia, we once took the melody from one of the most requested local worship songs and wrote new English lyrics to it so that it could be sung in the international church where we were members. Since then it has become a favorite song of the church’s many members who are from a Muslim background. We should want to serve the diverse members of our churches with melodies that help the words reach their souls – and those are often melodies from the musical traditions that they grew up with.

This is why it can be so hard for the majority culture of a given church to incorporate diverse musical styles in its worship. Because the melodies the church typically sings are from their culture and tradition, the majority already feel the sweet union of the words and the melodies down in their bones. It can take a while for them to realize that for those from other musical traditions, that double encouragement is not necessarily taking place. But in the Psalms there seems to be precedent for both – singing the melodies that feel like the songs of your people and singing the melodies that feel like you are being transported to a foreign land.

Here it must be said that it is indeed possible to be edified by singing the songs of another people, another culture, another century. It takes time and growth, yes, but it can happen, and it is healthy to learn how to be fed with melodies from the distant past as well as with others that just don’t hit your heart in that way (yet). Keep singing them and meditating on the truth they contain. You may be surprised at what happens to you as those foreign-seeming melodies slowly inch closer and closer to your heart. Just as a deep view of church history and a broad view of the global church serve to strengthen the believer’s head, so equivalent Christian music may serve to expand his heart.

Do we have any precedent in the Bible for incorporating diverse styles of worship in our services? I say yes, and not just in the New Testament. Even in the Old, we see that one style and culture of music is not sufficient for the worship and delight of God. Instead, he quietly included 1,000 years of musical diversity in his Psalter long before he sent the New Testament Church out to write and sing new hymns and spiritual songs to the ends of the earth. The New Testament posture toward musical worship that we’ll see in full bloom in heaven (and even now is flourishing) had its first budding in the Psalter. In it we can see the shoots of both freedom and tradition, service to others as well as room for our own souls to drink deep.

So then, sing to the lord a new song, sing to the Lord, all the earth (Ps 96)! Sing an old song too. And while you’re at it, for the sake of that refugee in your service, sing a foreign one as well.

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