In the second half of the 20th century, the Christian community witnessed a vast explosion of hymnody. Some of these new songs were produced by gifted authors, people like Timothy Dudley-Smith or Margaret Clarkson, who wrote hymns that built on the heritage of Christian hymnody. But a larger part of this "hymn explosion" were scripture songs—actual scriptural texts or paraphrases of scripture set to music, often in a popular style.
Such scripture songs are now used in almost every Christian church on earth. You'll hear them in the "upstairs" church during worship, at church society meetings of young and old, in church concerts, and certainly at Bible-study meetings. Scripture songs have become an integral part of Christian worship.
Long Roots
Actually, the "new" Bible song is not new at all; it has long historical roots. For centuries Christians have been singing both the psalms and other portions of scripture. Probably most familiar of the traditional scripture songs are the four canticles from Luke:
￭ Luke 1:46–55 (Song of Mary, the Magnificat)
￭ Luke 1:68–79 (Song of Zechariah, the Benediction)
￭ Luke 1–2:14 (Song of Angels, the Gloria in excelsis)
￭ Luke 2:29–32 (Song of Simeon, the Nunc dimittis)
The following Old Testament "lesser" canticles were also accepted by both the Eastern and Western branches of Christianity during the medieval era:
￭ Exodus 15:1–18(Song of Moses)
￭ 1 Samuel 2:1–10(Song of Hannah)
￭ Isaiah 12 (First Song of Isaiah)
￭ Isaiah 38:10–20(Song of Hezekiah)
￭ Daniel 3:52–88 [apocryphal text](Song of the Three Young Men)
￭ Jonah 2:2–9 (Prayer of Jonah)
￭ Habakkuk 3:2–19(Prayer of Habakkuk)
The Reformation, with its emphasis on the Word of God and on worship, produced a flood of new church songs. Many of these were psalms and Bible songs. Calvinists also continued to sing the New Testament canticles. Beza, a close associate of Calvin, even published a series of versifications of non-psalm texts from scripture (though these were not commonly used).
Most of today's Christians know various hymns from this Reformation period, although they may not recognize immediately that some of these "hymns"—the following, for instance—are really old scripture songs:
￭ "While Shepherds Watched Their Flocks by Night" para. Tate (Luke 2:8–14—sung to a British psalm tune)
￭ "Comfort, Comfort Ye My People" para. Olearius, trans. Winkworth (Isaiah 40:1–5—sung to a Genevan psalm tune)
After the hymns of Watts and Wesley became popular in the first half of the eighteenth century, psalm singing went into a decline in all but the most severe Reformed communities. Even during that time, however, some older scripture songs survived, and some new ones were freshly set. In fact, the Scottish kirk produced a collection of almost seventy paraphrases of biblical texts in 1781. A number of these Bible songs still appear in modern hymnals. The following selections, for example, are included in Rejoice in the Lord:
￭ "O God of Bethel, by Whose Hand" para. Doddridge (Genesis 28:10–22)
￭ "The Race That Long in Darkness Pined" para. Morison (Isaiah 9:2–7)
￭ "Come, Let Us to the Lord Our God" para. Morison(Hosea 6:1–4)
￭ "Behold, the Best, the Greatest Gift" Unknown (Romans 8:31–39)
￭ "Ye Who the Name of Jesus Bear" Unknown (Philippians 2:5–11)
Almost a hundred years later (1880) the Irish also published a book of paraphrases. But in most countries and churches, scripture songs were no longer popular. In North America, for example, some of the storytelling black spirituals seem to fit into the scripture-song category, but most effort was concentrated on versifying the psalms and on writing gospel hymns and Sunday school songs.
A Revival
Four phenomena since 1950 have been major factors in the 20th Century revival of scripture songs.
The first of these was the rise of the Jesus people, especially in California. The Jesus movement resulted from evangelistic work among the "hippies" of the fifties and sixties. Adherents of the movement liked folk music and had a fervor for Bible study— hence, the setting of short biblical texts to choruses and other simple verse/refrain songs, often by amateurs. The entire enterprise of Maranatha! Music is representative of this movement.
The second phenomenon is Neo-Pentecostalism, or the charismatic movement. Less colorful but more controversial than the Jesus people, the charismatics gained influence in almost all Christian denominations (including the Roman Catholic Church). Their emphasis on renewal of worship and on the use of believers' gifts produced a great host of songs, again frequently composed and written by amateurs. Important on a worldwide scale, the charismatic movement has produced some gifted musicians: David and Dale Garratt in New Zealand of Scripture in Song fame; and Betty Pulkingham, Jeanne Harper, and Mimi Farra—leaders of the British group, Celebration Services.
The evangelical revival in the parish churches of British Anglicanism is a third factor that influenced the reemergence of scripture songs. Initially focused on youth, this revival movement came to dominate among the lower-ranked clergy and, as such, was influential throughout the Church of England. The texts for scripture songs contributed by this group are often cast in hymn-like metrical forms. (See the texts of Christopher Idle and Michael Perry, for example.) The musical styles range from solid hymn tunes to the British pop styles. This group's repertoire currently is becoming better known in North America through the publication of Hymns for Today's Church.
The Second Vatican Council, which opened the door to vernacular liturgies in the Roman Catholic Church, is the fourth factor that encouraged renewed interest in scripture songs. Shortly after the council's decision, some well-trained composers, along with various Roman Catholic priests and nuns, began writing hymns, paraphrases of biblical texts, and liturgical music with English texts—some of it in decidedly popular styles. Willard Jabusch and Ray Repp are older representatives of this tradition, which has produced scripture songs that range from chants to folk songs. Many of these songs are also being used in Protestant communities today.
Evaluating Scripture Songs
The revival of singing scripture songs is certainly healthy for the Christian church as a whole. The strength of such songs is found in their biblical lyrics (is there any better way to know the scriptures than by singing the words?) and in their emphasis on praising God in song. When used in conjunction with other psalms and hymns from the Christian tradition, such scripture songs have their rightful place in Christian worship and nurture. And it is quite easy to point to all kinds of evidence of how the Lord, our God, uses such a repertoire for his glory and for the edification of his people.
However, it's important to be aware of some inherent problems in scripture songs.
First of all, because these selections are often short, they usually contain only one verse of biblical text—a shortcoming that may lead to ignorance of the context of that single verse in scripture. In the oral tradition from which many of these scripture songs come, that problem is remedied by adding additional stanzas. Thus, the well-known "Trees of the Field" para. Rubin (with music by Stuart Dauermann) might receive the following second stanza:
The fir and cypress trees will grow instead of thorns;
the myrtle will replace the briers and nettles:
this will be a sign, a sign of God's mighty name
that will not be destroyed.
—Isaiah 55:13, versified by Bert Polman. Used by permission.
Other scripture songs may have language problems: "Thou Art Worthy" Revelation 4:11, 5:9, para. Mills is obviously based on the King James Version and, as a result, incorporates language that most people do not use in conversation and worship today. The obvious solution is to update the language, making the song more meaningful to contemporary Christians. Yet many Christians will resist singing the updated version of the song: "You Are Worthy."
"His Banner over Me Is Love" Song of Solomon 2, Traditional has a hermeneutical problem: the title phrase and the rest of the lyrics obscure the erotic metaphor that lies at the root of the meaning of this text from the Song of Songs.
Finally, because many scripture songs are the work of amateurs, some of them do not stand up well to repeated use. One tires easily of poorly composed tunes and trite patterns of syncopation. Songs that feature descants, rounds, and/or longer verse-refrain forms tend to live longer because they require more effort from the performers. Other songs are best sung once or twice—with thankfulness!—and then discarded.
Scripture Songs in Worship
The suggestions that follow may help you make scripture songs a more meaningful part of your worship liturgy.
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Use a short scripture song as a "frame" around another psalm or hymn, similar to the alleluia frames found in Psalms 103–106.
The following scripture songs also make good "frames":
￭ "He Is Lord" Philippians 2, para. Vest
￭ "Rejoice in the Lord Always" Philippians 4:4, Anon.
￭ "Our God Reigns" (refrain only) Isaiah 52:7, para. SmithBe sure that the scripture song and its companion psalm or hymn are in the same key or in a suitably related key that permits direct transition from one song to the other; transpose one of the songs if necessary.
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Choose a scripture song just as you choose other psalms and hymns—paying careful attention to its place in the liturgy and to the season of the church calendar. Note how the following songs fit into the liturgy:
￭ "This Is the Day" Psalm 118:24, para. Garrett—at the beginning of worship
￭ "Arise, Shine" Isaiah 60, para. Loden—at the Service of the Word (or during Epiphany)
￭ "Jesus, Remember Me" Luke 23:42—as a response in a litany-style prayer.
￭ "The Lord Bless You and Keep You" Numbers 6:24–26—at the close of worship.
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Add more stanzas, particularly to songs in which there is already some repetition of text. For example, add a second stanza to "I Will Sing of the Mercies," Psalm 89:1, para. Fillmore
i.e. 2nd stanza by Marie Post © 1986
All the hosts of the angels sing God's praise forever,
for the things he has done.
All the hosts of the angels sing God's praise forever,
all the hosts of the angels sing God's praise.
Who can be compared to God
in faithfulness, in faithfulness?
Who can be compared to God
in faithfulness to all generations?
I will sing of the mercies of the Lord forever,
I will sing of the mercies of the Lord.Or add other first lines to "Those Who Wait upon the Lord," Isaiah 40 as follows:
Those who love the God of grace shall renew…
Those who live a life of love shall renew…
Those who die on the march shall renew… [funerals]
Those who offer gifts of praise shall renew…
Those who grow in his ways shall renew… [profession of faith]
Those who pray "Come Quickly, Lord" shall renew…[Advent]
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As with all other church music and congregational song, bring creativity and variety into the singing of scripture songs. Make full use of musical features such as descants or rounds. Occasionally sing select songs in a medley style. And, if the group sings the same Bible song several times in sequence, introduce different levels of dynamics (louds and softs) and provide occasional changes in harmonization and/or in accompanying instruments (including Orff instruments and folk instruments in smaller settings). A number of the recordings listed in the below bibliography demonstrate a variety of such performance practices.
The 20th century revival in singing scripture songs serves as a powerful sign that the Holy Spirit can still make fresh the meaning of the inspired scriptures to the lives of God's people. When the pitfalls of amateurism, poor leadership, and undue commercialization begin to loom larger, then a simple but well-crafted and wisely used scripture song may help all of us:
￭ "Seek Ye First the Kingdom of God." Matthew 6:33, para. Lafferty
