In Praise of Song

This aricle appeared in Parish Grpevine - February 2007

In Praise of Song

Why is it that Methodists and the Welsh have such a good reputation for singing? Why is it that one African definition of white Europeans "the ones who sing but don't move?" Aren't we all built the same? Don't we all have the same equipment?

These aren't the same questions that have inspired a government programme to promote music and singing for children but they strike a cord. When the Education Secretary announced the £10m package he said: "As well as being a worthwhile activity for its own sake - music is a powerful learning tool which can build children's confidence, teamwork and language skills." A "21st century songbook" is to provide a top 30 song list for whole school/whole class singing and England's 34 choir schools are to be encouraged to work in partnership with local schools. Alan Johnson said: "Music has a tremendous power to bring people together, can act as powerful social glue and is a great way to engage children in their education".

Those who worship in churches on Sundays know this already. Singing does bring people together, and music does inspire worship. But music does bring its arguments and controversy. Just as the choice of what goes into the "21^st century songbook" is going to be hotly contested, what we sing in church is a matter of great sensitivity.

Music changes and evolves with each generation having its style and heroes. Hymn books come and go and music technology is constantly developing. Travel has widened our horizons and hymn books increasingly reflect our multicultural context. The ever increasing desire for Christian unity has resulted in our discovery of songs from a wider theological context, and the rediscovery of Jesus' teaching about the importance of children has made us ask questions about how child-friendly our music has been. The growing awareness that our worship needs to be accessible to Christians at all stages of their journey, including "beginning Christians", has meant the inclusion of folk tunes. Theological developments and re-discoveries have inspired hymn writers to new composition, and left many hymn verses looking tired or wrong.

Those people who have returned to Sunday worship after years away notice what a change there has been. They rarely complain because the increased range of music and the more relevant language makes singing an enjoyable experience, and, indeed, a way of being together though what Alan Johnson referred to as "the powerful social glue" of music. (We do try to avoid the banal - sometimes called "happy-clappy/crappy").

Most of Christmas has been forgotten. One thing I remember is the children's singing at the Tarvin and Duddon School carol Services. Particularly moving was the children's singing of In the Bleak Midwinter at St Peter's. Normally adults sing it cheerlessly and so-seriously. The carol finishes with the question "What can I give him, poor as I am?" and the style of singing usually implies that regrettably "not much can I give him". However, the children sang so cheerfully that the implied answer for them was "everything still". It prompted me to say to the parents at the Carol Service that the children's uninhibited singing puts our efforts to shame.

Why does it matter so much to us that we get it right?

Why can't we take a few risks? After all, we use the expression "play music". It is PLAY - for pleasure, praise and enjoyment.

David Herbert