Lesson 6 Worship in song in cultural language

 (Photo above of hymn book published during Luther's life open to "A Mighty Fortress" — Photo by author)
 (Text below part of presentation to musicians, artists and worship leaders in Kyiv, Ukraine, May 2017)

Lesson 6. Worship in song should take place in the cultural and spoken language of the believers so that they own it and participate in it with a true sense of worship.

As these lessons were initially presented to my precious brothers and sisters in ministry in Ukraine, the applications tend to have relevancy to a non-English speaking culture, heavily influenced as so many cultures are by contemporary worship music from the western English speaking world. I have been greatly encouraged to witness many of these lessons applied by Christian musicians in Ukraine.

In the previous lesson I mentioned that Luther believed that all believers should be able to participate in public worship in their vernacular language. The restoration of congregational singing in German required songs in German that were easy to sing—hymns with simple syllabic melodies. This need sparked a time of great hymn production following Luther’s lead.  

APPLICATION: In congregations where people speak more than one language, it is good to help the congregation sing and appreciate the languages represented in the congregation.  Those who have never tried to sing a song in a foreign language may find this challenging, frustrating or meaningless. But with appropriate comments, translation helps and biblical teaching concerning the diversity of the body, a culture of acceptance can be created. The rewards are well worth the effort involved. 

As the Reformation swept across certain parts of Europe, Luther and the Reformers faced the enormous challenge of instantly developing a hymnody for the people in the church. Luther took the following steps to meet that challenge.  I think we can learn from each step.
I)  He translated or reworked some of the best-known Medieval Latin hymns. New German texts required new German tunes that matched syllabic stress and vocal inflection. Because of the uniqueness of inflections and syllabic stress between languages, this meant changing not only the texts, but also the music itself:
But I would very much like to have a true German character. For to translate the Latin text and retain the Latin tone or notes has my sanction, though it doesn’t sound polished or well done. Both the text and notes, accent, melody, and manner of rendering ought to grow out of the true mother tongue and its inflection, otherwise all of it becomes an imitation, in the manner of the apes.
APPLICATION: This challenge is faced by many non-English speaking congregations. As I travel, I often hear good musicians lament the quality of the translation and how foreign and forced certain songs feel. Translating contemporary or traditional worship songs—whether hymns, psalms or spiritual songs—requires great skill and attention to the same factors that Luther concerned himself.  Of course, while doing this we must keep copyright permission issues in mind, which can range from a frustrating experience to wonderful collaborative creative ventures.

II) Luther wrote and encouraged the writing of new melodies.  The creation of a German hymnody required new music to match the speech rhythm of the newly emerging German tongue. In order to speed up the process, he often used familiar tunes so that the people did not have to learn new words and new music. In some cases Luther was able to simple rework an older tune. He also adapted certain Latin chants, saying, "The melodies and notes are precious. It would be a pity to let them perish."
APPLICATION: I encourage believers in all non-English speaking churches to encourage the writing of new melodies or, as Luther did initially, set texts to familiar tunes without any negative connotations.  For Ukraine, a leader of a German mission had a vision for this and provided money for a song competition.  The response was overwhelming, evaluating and choosing the best time consuming and challenging, but three long term benefits resulted:  1) ‘heart-language’ songs for the church, 2) the encouragement and development of song writers, 3) distribution of chorus books containing these songs.

III) Knowing that the church's teaching would be best implanted in young minds if it was reinforced with hymns, Luther wrote hymns to illustrate the Catechism that he had drawn up. 
A Mighty Fortress is his best-known and most powerful hymn.  It is based on Psalm 46 and became the rallying battle cry of the Reformation. It was the people’s source of strength and inspiration, even for those martyred.  This hymn has been translated into most languages and the first line is engraved on Luther's tomb.
Luther's productivity is truly staggering and demonstrated his intense concern for what happens in public worship, especially the choice of music. He edited and composed more than thirty hymn tunes and texts and seven liturgical pieces. Luther authored a variety of services including songs for baptism, marriage, ordination, private confession, and self-examination. He involved himself with editing and writing prefaces for all the major hymnals of his day. He edited a major choral collection, George Rhau's Symphoniae Iucundae of 1538, which contained fifty-two motets and a repertory of Latin and German songs for the Sundays of the church year.
Just as the mass publications of the Bible for individual study fostered literacy in the Reformation countries, the mass distribution of hymnbooks encouraged musical literacy among all levels of society. Luther insisted that the congregation sing in every worship service.  He believed that the vigorous singing would open the hearts and minds of God's people to embrace the Word of God. He said, “If they do not sing it, they don’t believe it.”
Exuberant singing became a trademark of the early reformers. Luther's enemies often lamented that the German people were singing themselves into Luther's terrible doctrines, and that his hymns destroyed more souls than all of his writings and sermons.
APPLICATION: Many of us would do well to take time to evaluate what teaching should be implanted in the minds of believers.  Part of that process entails a review of essential doctrines and essential teaching. Then a review needs to take place to determine whether all are present in song and if not, a plan to incorporate missing teaching. Like Luther, we would do well to ensure that all important teaching is available in song form. Like Luther, we would do well to remind ourselves that if the congregation does not sing it (and love singing and listening to these songs), then they won’t really believe it.  They have not made it a part of what they believe.  In my book Psalms, Hymns and Spiritual Songs: the Road to Unity and Spiritual Maturity, I express the idea this way: the way that we worship becomes the way that we believe which in turn becomes the way we think, interact and feel. 

IV) Luther set the highest standards for composition of the new hymn tunes. This was true for the music and the text.  As a role model, he pointed to the greatest classical composer of the time, Josquin des Prez, whose music he had heard while in Rome in 1511. Luther wrote of him, "He is the master of the notes. They must do as he wills."  
In striving for excellence in music, Luther surrounded himself with the finest musicians of his day.  He called together Conrad Rupf, chapelmaster to the Elector of Saxony, and Johann Walther, cantor at the Court of Frederick the Wise, and with them in 1524, published the Order of the German Mass.  Conrad. Johann Walther was also Luther’s musical adviser and friend who helped him to construct a new liturgy and composed tunes for many Lutheran hymns. He also pioneered the "dramatic" musical setting of the Passion in German.  He also worked with Ludwig Senfl, court Kapellmeister at Munich and the finest German composer of the time. 
In striving for excellence in text Luther encouraged some of Germany’s finest poets to write texts for evangelical hymns.
But poets are wanting among us, or not yet known, who could compose evangelical and spiritual songs, as Paul calls them (Col. 3:16), worthy to be used in the church of God. . . . I mention this to encourage any German poets to compose evangelical hymns for us.9
It is also worth noting that the goal of excellence was not to be reached at the expense of accessibility and sing-ability.  Luther’s most distinctive, important and enduring musical contribution was the strophic congregational hymn, called a  chorale (in German Kirchenlied).  The syllabic combination of the text to easily sung and well loved melodies was important. Most of our evangelical songs of the church have been influenced by the chorale which consists of a text and a tune.  Luther published six hymnals. In 1524, he published the first Protestant hymnal, Geystliche Gesangbuchlein, which contained eight hymns, four of them by Luther.  This little book was soon used all over Europe.
APPLICATION:  Seek out and work with gifted musicians and lyricists. Establish meaningful and useful standards for music and text. Both music and text should be worthy of use in the church.  “Let the word of Christ dwell in you richly” (Col 3:16) 

V) Luther encouraged the teaching of new songs.  He called congregational rehearsals during the week to learn new hymns.  Luther also used the choir to teach hymns. They were instructed to "sing slowly and distinctly”.
APPLICATION:  What creative means can we use to teach new songs?  Certainly, with all the different media options available, this should be an easy task.  Taking time to teach, and learning how to teach new songs should also be part of our church ministry plan.  

VI) Although he reinstated congregational singing, Luther continued to promote choral singing believing that it helped to improve one's sense of hearing and would develop the musical consciousness of people. Choral singing was defined as an assertion of faith, and a spiritual commentary on biblical texts. In order to develop choral singing, worshippers had to be acquainted with music practice. Schools or parishes became responsible for vocal training, given by a “cantor”.
APPLICATION: It seems sad that we have seen such a great decline in choral singing in the last four decades.  It is sad to see that so many singers are robbed of any opportunity to minister through music because the worship teams cannot accommodate as many singers as a choir or because their skill level is not high enough to participate in a ‘solo on mic’ fashion.

VII) Luther worked hard at establishing a balance between a professional level of music that appealed to the highly educated and highly trained and accessibility and involvement of the common people.  Luther's view of music in the Church was not a sentiment that was shared by all of the reformers.  He celebrated the organ, while some opposed it. He celebrated using "artistic musical effects" while others felt it needed to be simplified.  He wrote music, while some felt only songs found directly in scripture could be sung. Luther’s views on music in worship contrasted with the Calvinists lead by John Calvin; the Zwinglians lead by Ulrich Zwingli.  Calvin and Zwingli considered the arts to be purely secular and banned or strictly regulated their use. Luther, because of his theology, didn't see music as something bad to be avoided but as a part of the creation redeemed by Christ. Because of this view of creation, Luther celebrated the importance of music of all styles and its relation to the Word of God.
APPLICATION: It is easy to slip into a hierarchy and separation where praise teams, display an elitism, turning the congregational worship service into a concert where personal musical tastes and worship style take priority.  The melodies are difficult to sing. The physical setup and sound engineering does not allow the congregation to experience corporate worship. There is a place for a concert but not in the church service. There is a place for good musicianship and skilled playing but not at the expense of congregational involvement. Congregational songs  should not be chosen on the basis of self gratification but to allow for teaching and admonishment as well as facilitate the varied responses found in the Psalms.  These concerns are not limited to worship teams. Choirs and instrumental groups should also take care not to display an elitism and keep teaching and communication in mind.