“What’s In a Song?"
Written by Pastor Ryan Rindels
Christians regularly sing songs in worship with little, if any knowledge of the artists who composed them. The stories behind a tune and its creator are often inspiring. Helen Howarth Lemmel (1863–1961) had a successful career in voice, but went blind in middle age. In 1922, she wrote “Turn your Eyes Upon Jesus.”
In other instances, the lives and beliefs of hymn writers prove disappointing, as Michael and Lisa Gungor’s “theological deconstruction” attests. Michael claimed to be an atheist only two years after he composed “Beautiful Things.”
Yet few of us know much about the composers of hymns or worship songs—even contemporary ones. Artists who composed sacred music in the Middle Ages generally chose to remain anonymous. Their score was an offering to God, intended to draw worshippers to Him. Of course, many of these composers were employed by the church, but the compensation did not increase based on the popularity of a song.
Today, copyright laws require that churches pay in the form of license fees. In hymnals, the artist is recognized by name at the bottom of the score. For slide-shows that include lyrics, the composer(s) are typically named at the conclusion of the song. Few of us pay attention to this content. We recognize established artists—Chris Tomlin, for example, or widely-recognized ministries—Bethel Music comes to mind. Beyond bare recognition, we typically have little knowledge of the personal lives, denominational affiliations, even the theology of the men and women whose songs we sing.
This appears a serious problem considering how much of our theology comes from music. Apart from the cumbersome and impractical process of researching every artist and ministry, deciding what music should be avoided on the basis of the author’s beliefs is complicated. Robert Robinson, an English Baptist pastor who lived from 1735–1790 provides an excellent case study.
Known for his popular hymn “Come Thou Fount of Every Blessing,” Robinson was converted under the preaching of George Whitefield. Initially licensed as a Methodist preacher, he became a Baptist and served as pastor for the Congregationalist chapel at St. Paul’s parish in Norwich from 1762 until his death. While scholars continue to debate his legacy, there is strong evidence that Robinson denied the doctrine of the Trinity near the end of his life. The fact that Joseph Priestly, a prominent Unitarian pastor, preached Robinson’s funeral strongly confirms this hunch. Few people know who John Robinson was, much less, can they detect Unitarianism in Come Thou Fount. And why would they? Nothing in the song event hints at this theological heresy. Moreover, Robinson wrote the hymn right after his conversion at the age of 22—decades before his theological shift.
Let’s assume that Come Thou Fount is an acceptable hymn for orthodox Christians who affirm the Trinity. What considerations are necessary for this conclusion. I can think of the following:
1. The theology drawn from the words of the song itself.
2. The professed beliefs of the author at the time the song was written.
3. Ignorance of Robinson’s heretical views by modern audiences.
4. The fact that Robinson is deceased and can no longer speak for himself.
5. The fact that Unitarianism as Robinson believed is widely obsolete.
In our contemporary setting, as we decide which hymns and worship songs to sing, point #1 is the most significant, for we come to believe what we read and recite. Point #2 is a challenge if an artist is alive or a ministry is active, for their doctrine may be evolving, even if the name is unchanged. People are loyal to labels that they trust, whether for their benefit or detriment.
As for songs written a century or so ago, we often take for granted points 3–5. Isaac Watts also questioned the Trinity, but none of Watts’ hymns–Joy to the World–for example, hint at this. Anti-Trinitarianism is generally limited to the Jehovah’s Witnesses. And of course, Watts died in 1748.
What does this mean for us today?
First, understand that what you sing about God, you end up believing about God. Most Christians glean the bulk of their theology from the content of corporate worship. Second, understand that music can directly or indirectly—for good or ill—promote a particular artist or ministry. Third, identify what makes an actual heresy before glibly using the “h-word.” All traditional Christian heresies essentially involve denying the divinity of either the Father, Son, or Holy Spirit or incorrectly describing the relationship between the persons.
Many worship songs are theologically-weak, but few are heretical in a technical sense. For this reason, we shouldn’t be unduly critical. Consider that the content of a worship song reflects an artist’s beliefs about God. There are reasons particular words are chosen.
Lastly, if you are able, write your own worship songs. If anything, the attempt will make you thankful for those gifted to compose songs of praise and worship—especially the ones that “stick.”
