“And be not drunk with wine, wherein is excess; but be filled with the Spirit; Speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord” (Ephesians 5:18-19).

“Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord” (Colossians 3:16).

In Ephesians 5 and Colossians 3, we have the Holy Spirit’s instructions for congregational singing. The pronouns are plural.

This is a description of congregational singing as God intends it. 

Here, we see a congregation of spiritual and biblical depth building itself up through the singing of sacred music. We see congregational singing as an essential part of the ministry described in Ephesians 4:14, “From whom the whole body fitly joined together and compacted by that which every joint supplieth, according to the effectual working in the measure of every part, maketh increase of the body unto the edifying of itself in love” (Eph. 4:16). 

This is not a church in which the congregational singing is a mere ritual that is hurried through. It is not a church that sings mindlessly without understanding the purpose of the song service. 

It is a church of born again people who are filled with God’s Word and who are singing from the heart to God and to one another, singing with understanding, singing with clear biblical purpose. 

Recently, after a congregation had sung “Beulah Land,” I got up to preach and asked how many knew the meaning of “beulah.” Only two people raised their hands. I’ve done this type of thing often in various churches, with similar results. 

In the passages in Ephesians 5 and Colossians 3, we have a divinely-inspired educational course for congregational singing. This type of singing does not happen automatically. The entire church must be educated. The passages are addressed to the assembly as a whole. The lessons must first be understood by the church leaders and music people, then the whole congregation must be instructed, from the youngest to the oldest. And the education must be given to each generation. It is a never-ending task. Every church is potentially only one generation away from apostasy.

In these last days, the vast majority of churches have moved far away from the pattern set in Ephesians and Colossians. Spiritual revival is to repent of going astray and to return to God’s Word. “Remember therefore from whence thou art fallen, and repent, and do the first works...” (Re. 2:5). 

MAJOR LESSONS

I. The singing is congregational singing. 

II. The singing is by a certain kind of congregation.

III. The singing is of psalms, hymns, and spiritual songs. 

IV. The singing is to teach and admonish one another.

V. The singing is to the Lord.

VI. The singing is from the heart.

I. The singing is congregational singing. 

The pronouns are plural (“yourselves,” “you,” “your”). 

We aren’t saying that solos and duets, etc., are wrong, if they are spiritual and edifying rather than carnal and entertaining, but the emphasis in these passages is on the congregation singing to God and to itself, so that is where the churches must put the emphasis. 

To “speak to yourselves” and “to teach and admonish one another” refers to a function of the church as a body (Eph. 4:16) and the church as a holy priesthood (1 Pe. 2:5). It has been said that the song service is preparation for the preaching, but that is the “revivalist” viewpoint (e.g., D.L. Moody, Billy Sunday). Paul teaches that the congregational singing is to be an important teaching ministry in itself. 

“Speaking to yourselves” includes speaking to oneself. Before I instruct, encourage, exhort, and reprove others, I must do so to myself. Otherwise, I am a hypocrite. So to speak to yourselves in psalms, hymns, and spiritual songs involves speaking to myself the great truths of Scripture. In many of the Psalms, the psalmist exhorts himself in the Word of God. He exhorts himself to hope in God (Ps. 42-43; 62:5), to bless the Lord (Ps. 103:1-2, 22; 104:1, 35), to return unto his rest (Ps. 116:7), to praise the Lord (Ps. 146:1). “On this precedent build those hymns in which every member of the congregation summons himself to faithfulness and worship, as in ‘Praise, My Soul, the King of Heaven’ (based on Psalm 103), ‘Be Still, My Soul,’ ‘Come, My Soul, Thy Suit Prepare,’ ‘Rise, My Soul, to Watch and Pray,’ ‘Soul, Adorn Yourself with Gladness,’ and ‘Arise, My Soul, Arise’” (“Audience,” A Biblical Model of Congregational Singing, congsing.org).

To “teach and admonish one another” requires an emphasis on the message of the lyrics. Nothing must detract from the message and from its proper impact in the hearers’ hearts and minds. 

Congregational singing is not about me; it is not about my choices and my pleasure (whether or not I want to participate). It is about God and His will and pleasure. It is about ministering to the brethren. Every member should participate and participate enthusiastically unto the Lord. It is a matter of dying to self and submitting to authority. It is a matter of love for Christ and my fellow man.

Congregational singing is one way that the older generation teaches the younger. “And these words, which I command thee this day, shall be in thine heart: And thou shalt teach them diligently unto thy children...” (De. 6:6-7). “One generation shall praise thy works to another, and shall declare thy mighty acts” (Ps. 145:4).

Consider the example of Rocky Springs Church (location unknown): “On Sunday mornings, we enter a sanctuary of white cinderblocks trimmed out in honey-colored oak with a floor thinly carpeted in medium blue, and we sit in wood pews that are as dark as the rest of the space is light. When the time comes to sing, old men, ladies, boys and girls stand up while the pianist plays a few bars of the tune so that we can all remember how it goes. We then all sing. A little girl at the end of the pew, barely old enough to read, struggles (without a hint of embarrassment) with some of the words but, as she knows the ‘Alleluia, Amen’ bit well, she sings it as loud as she can toward the back of the old fellow sitting in front of her. Though his hearing is bad, he hears her just fine and finds himself consciously agreeing with what she is singing. He will tell you that he isn’t much of a singer, but you would never believe it from his lively participation—he has something to sing about and he knows we all need to hear it. Indeed, Rocky Springs makes no boast about being musical. If a critic, overhearing us, declared fully half our number unable to carry a tune, it would not trouble us. We can hear the tuneful just as well as the tuneless and are as glad for the exhortation and teaching that both offer. When we sing a hymn familiar to all, the oak trim seems to rattle in sympathetic vibration. During such songs, many do not even look at the hymnal. They look up or at each other, as if they were having a conversation with God and everyone in the room all at once. As the whole congregation sings, each understands the other and all are teaching, taught, exhorting and exhorted. And God is glorified” (www.congsing.org/introduction.html).

Nothing should detract from the command to teach and admonish one another.

“Congregational singing is an essential aspect of corporate worship. My church focuses on the reading of Scripture and congregational singing from the Psalter prior to the preaching of the Word. There is no special music, and the offertory is accompanied by the congregational singing. In this manner, the focus remains on singing God’s praises in worship as a corporate body. If the focus is on other aspects of music, such as a band up front, or a particularly gifted pianist doing fancy offertories, or a particularly beautiful voice showcased every few Sundays for special music, this can take away from the purpose of the worship service. The purpose of worship is to blend our voices in one song to the Lord, with pure hearts and without distraction if possible. Congregational singing, particularly with a limited but helpful accompaniment, encourages this purpose more than any other worship approach I’ve experienced. Such a focus provides less opportunities for ‘performances’ by individuals, thereby necessitating musical and vocal enrichment outside the realm of corporate worship, if one is interested in personal development and opportunities. This is not a bad thing, for I believe every true Christian would agree that the corporate worship setting is not the place for individual enrichment and opportunity, but rather for the corporate worship of almighty God” (Lauren Masters, “The Human Voice as a Musical Instrument,” Kardia Music Journal, Vol. 2, Iss. 1, 2022). 

II. The singing is by a certain kind of congregation.

In these passages, we see that a certain kind of congregation is necessary to sing after the manner that God instructs.

1. It is a Spirit-filled congregation (Eph. 5:18). 

God begins with the spiritual condition of the church and of the individual singers. Sound congregational singing requires a spiritual house made up of living stones (1 Pe. 2:5).

Spirit filled means not controlled by anything other than the Spirit (not alcohol, not drugs, not the flesh, not the works of darkness) (Eph. 5:11)

Spirit filled is to yield to the Spirit’s control, to mind the things of the Spirit (Ro. 8:5), to be led by the Spirit (Ro. 8:14), to walk in the Spirit (Gal. 5:16). 

Spirit filled is to be spiritually alive rather than sleeping (Eph. 5:14). 

Spirit filled is not spiritually careless and foolish (Eph. 5:15-17).

2. It is a Scripture-filled congregation (“Let the word of Christ dwell in you richly in all wisdom,” Col. 3:16).

This describes the right kind of church. It is a church that has a regenerate membership that is truly filled with God’s Word. 

The Word of Christ is to dwell in “you” (plural) richly. The whole church, and every member of the church, must be indwelt with Scripture. This describes every member being saved, every member being filled with God’s Word, every member becoming an effectual Bible student, the fathers and mothers being effectual Bible students so that the children are being educated in God’s Word in the homes (2 Ti. 3:15).

The Word of Christ is to “dwell.” The Word of God must “dwell in you.” “Dwell” is enoikéo, This is enoikéo, to inhabit, from en (in) and oikéo (dwell). “The word oikos means ‘a home.’ Oikéo means ‘to live in a home.’ The exhortation is to the effect that the Christian is to so yield himself to the Word that there is a certain at-homeness of the Word in his being. The Word should be able to feel at home in his heart” (Wuest). 

Each believer must “let it dwell.” It is a choice. I can fill my life with Scripture. I can read it. I can learn how to study it and understand it. I can delight in it and meditate on it day and night (Ps. 1:2). I can test everything by it and thereby exercise my spiritual senses (Heb. 5:14). I can live it out. Or I can neglect it. Even in a church that is preaching and teaching God’s Word effectually, the individual members must “let it dwell.” They must receive the Word and they must receive it into every part of their lives.

The Word of Christ is to dwell “richly.” This is plousíos, “richly, abundantly, largely” (CWSB), “connected with ploutos, riches” (Vines). It is translated “abundantly” (Tit. 3:6; 2 Pe. 1:11). This does not describe believers who have a 15 minute daily Bible reading but who are largely ignorant of God’s Word.

The Word of Christ dwelling richly describes a believer that is saturated with God’s Word, who is an effectual Bible student, who reads and studies it, who knows how to rightly interpret it, who memorizes it and meditates on it day and night, who tests everything by the authority of God’s Word so as know right from wrong, good from bad, so as to do God’s will. For the Word of Christ to dwell richly in a congregation requires that the church not merely have a Bible School, but that it be a Bible School. It requires that every member learn how to be an effectual Bible student, from the youngest to the oldest. It requires that fathers and mothers learn to be effectual Bible students so that their children are being educated in God’s Word in the homes (2 Ti. 3:15). It requires that the youth be seriously discipled in God’s Word and not merely entertained with Christianized fun.

The Word of Christ dwelling richly describes theological depth. We must aim for more than just theological soundness. We want richness of truth that will edify deeply and broadly. The lyrics must be examined carefully to make sure that we are not singing heresy and also that we are not singing vapid, emotional, sweet nothings. 

For example, the lyrics to many of the popular Southern Gospel songs are very weak, doctrinally. 

Many of the Stamps-Baxter hymns were typically characterized by biblical shallowness, if not outright heresy. They are emotional, feel-good songs that are easy to “showboat,” meaning they are designed to show off vocal techniques and jazzy rhythms, but the message is extremely shallow. They don’t deal with essential doctrines such as repentance, conversion, confession, holiness, obedience, and separation from the world. Even the gospel is presented in a vague fashion. The songs are not solidly Bible based. They are often man-centered, focusing on man’s needs. 

Consider “I’ll Fly Away.” The words “I’ll fly away” are repeated 24 times in the short song. 

The lyrics to popular newer songs like “He Knows My Name” and “The Broken Ones” could be sung by unconverted church members with “blessing” but no conviction. 

“He Knows My Name” by the McRaes

He counts the stars one and all
   He knows how much sand is on the shore
He sees every sparrow that falls
   He made the mountain and the seas
He's in control of everything
   Of all creatures great and small

CHORUS
He knows my name
   Every step that I take
Every move that I make
   Every tear that I cry
And He knows my name
   When I'm overwhelmed by the pain
And can't see the light of day
   I know I’ll be just fine
Cause He knows my name

   I don't know what tomorrow will bring
I can't tell you what's in store
   I don't know a lot of things
I don't have all the answers to the questions of life
   But I know in whom I believe

CHORUS

   He knew who I was when he carried the cross
   He knew that I would fail him but he took the loss

CHORUS

   Every step that I take
Every move that I make
   Every tear that I cry
And he knows my name

When the shallow lyrics to this song are sung to sensual music with sensual voice techniques, it is a recipe for emotional “blessing,” but it is seriously lacking in biblical substance. In fact, “He knew I would fail him but he took the loss” is not a sound gospel message. Christ didn’t take a loss; He took my sin. 

Southern Gospel doesn’t encourage a careful examination of lyrics, but the Bible does. 

“Prove all things; hold fast that which is good” (1 Th. 5:21).

“These were more noble than those in Thessalonica, in that they received the word with all readiness of mind, and searched the scriptures daily, whether those things were so” (Acts 17:11).

“But strong meat belongeth to them that are of full age, even those who by reason of use have their senses exercised to discern both good and evil” (Heb. 5:14).

“Let all things be done unto edifying” (1 Cor. 14:26).

“The simple believeth every word: but the prudent man looketh well to his going” (Pr. 14:15).

It is the message of the song that edifies and sanctifies, not jazzy music and sensual chord sequences and sensual vocal techniques, so the lyrics must be examined carefully to make sure that we are not singing heresy and that we are not singing vapid, emotional, sweet nothings. 

Consider “The Broken Ones” by Jerry Salley, J.B. Rudd, and Vip Vipperman:

Maggie came home one day with a raggedy, Raggedy Ann.

   She said “Mama, look what I found in the neighbors garbage can.”

It had a missing left arm, and a right button eye hanging by a thread

   She carried it gently up to her room and laid it on her bed

with her other dolls.

Chorus:

She loves the broken ones, the ones that need a little patchin' up

   She see's the diamond in the rough and makes it shine like new

It really doesn't take that much, a willing heart and a tender touch

   If everybody loved like she does, there'd be a lot less broken ones.

Twenty years later in a shelter on Eighteenth Avenue

   A seventeen year old girl shows up all black and blue

with needle tracks in her left arm, almost too weak to stand,

   She says,"I'm lost and I need help", as Maggie takes her hand

And says, "Come on in!"

Bridge:

If you call her an angel, she'd be quick to say to you

   She's just doing what the one who died for her would do

Love the broken ones, the ones that need a little patchin' up

   See the diamond in the rough and make it shine like new

It really doesn't take that much, a willing heart and a tender touch

   If everybody loved like He does, there'd be a lot less broken ones

If everybody loved like He does, there's be a lot less broke ones.

Again, this has no biblical substance. One can read any theology into the song. It is so weak that it fits liberal social gospel theology, faith-works theology, even Catholic or Mormon or Jehovah’s Witness theology.

Even some of the popular Southern Gospel songs that have a fairly biblical message are made shallow by the distracting music which overwhelms the message with an entertainment emphasis or is confused by an unscriptural element being thrown into the lyrics.

Consider the song “My God is Real,” sung by countless Southern Gospel groups.

The lyrics include a repetition of these words: “He’s real, I can feel him deep within. ... My Lord He’s real, I can feel him in my soul.” 

This is the Pentecostal, Holiness, Stamps Baxter heresy that says I can and should feel God. Where does the Bible support this? Where does it teach that the believer can feel God? Where does the Bible tell us how this is done? In light of the Bible’s frequent warnings about the danger of spiritual delusion, how would you know that it is God you are feeling and not a spirit of deception? This song encourages the great error of living the Christian life by one’s emotions, which is extremely unstable and spiritually and emotionally dangerous.  

A comment left on the YouTube rendition illustrates the emotional approach to Christian music: “Love the Florida Boys singing this beautiful song. This song has got some power in it. That it makes the hair rise on my arms.”

We are to “prove all things; hold fast that which is good,” and only that which is good, and this song does not pass the standard of God’s infallible Word. 

Another example of the shallowness of popular Southern Gospel songs is “Just a Little Talk” by Cleavant Derricks and sung by countless Southern Gospel groups. Here are some of the lyrics:

I once was lost in sin, but Jesus took me in

   And then a little light from heaven fills my soul.

He bathed my heart in love, and He wrote my name above

   And just a little talk with Jesus makes me whole.

(Now let us) have a little talk with Jesus

   (Let us) tell Him all about our troubles

(He will) hear our faintest cry

   (He will) answer by and by

(When you) feel a little prayer wheel turning

   (And you) will know a little fire is burnin'

(You will) find a little talk with Jesus makes it right.

There is no clear gospel or salvation message here. “I once was lost in sin, but Jesus took me in” is so vague that any false gospel can fit there. And what does “feel a little prayer wheel turning” mean? Buddhists have prayer wheels, and I’ve seen them used all over Asia. Did Derricks visit the Far East before writing this strange song? This aside, the emphasis of the song is on feeling.

The reason it is popular is its jazzy tune and the fact that it lends itself to vocal “showboating.” 

Another example is “Step into the Water” by Kirk Talley, who was singing with the Cathedrals when he wrote the song in about 1979. 

It’s time we, the people, stand up for what is right.

   It’s time we squared our shoulders back and raised our 

swords to fight.  

For the Bible is my weapon and the Spirit is my shield.

   The Church needs more of its members to be workers in the field.

There is victory for the Christian who walks the

narrow way. 

   There has been a prize appointed for the soul who does 

not stray. 

Though I want to live for Jesus, and be all that I can 

be. So, that I can rest with Him forever, live eternally.

   CHORUS

Step into the water

   Wade out a little bit deeper

Wet your feet in the water of His love

   Step into the water

Wade out a little bit deeper

   Come join angels singing praise to the Lamb of God

“Step into the Water” has some biblical lyrics, but the heart of the song is the jazzy chorus, which is the reason for its popularity. It is almost impossible to sing it without dancing and “showboating,” which is the essence of a Southern Gospel hit. The concept of stepping into the water and wading out a little bit deeper has no biblical support. The only New Testament image of stepping into the water is that of baptism, and baptism is a picture of salvation. Deep water is nowhere used as a picture of the Christian life in Scripture. The problem is worse than that, though. “Step into the Water” preaches a false gospel, which might come from the influence of Talley’s early years in Free Will Baptist churches that teach the doctrine of “conditional security” or “holding out faithful.” The song teaches that by living for Jesus one can rest with Him forever. That is salvation by faith plus works. 

The vagueness and lack of doctrinal clarity that permeates so many of the popular Southern Gospel songs is why many worldly people love Southern Gospel. It “speaks to them,” but it does not convict, save, sanctify, and separate them. You can see this in the mixed multitudes at Southern Gospel concerts and conventions. You can see it in comments left on the YouTube editions of songs such as “He Knows My Name” and “The Broken Ones,” which are left mostly by women who are being emotionally impacted, but not necessarily spiritually changed.

Consider the song “Send the Rain” that was used at the Burlington Tent Revival (Burlington, NC, 2016).

“Regarding the Burlington Revival: This video clip is of the July 22 revival meeting which has been touted as the most successful meeting of the entire revival. There were a supposed 100 people saved that day. It is one of Burlington Revival’s most viewed clips on YouTube. And I can’t tell you how many times I’ve heard pastors reference this specific meeting where all these people got saved in one night. ... the link I gave above has a timestamp that starts at 39:30. As this time they begin singing a song which they sing until the 1 hour mark. They sing this song over and over again for 20 minutes until everyone is worked up and in their emotions. People ‘get saved’ during this time, but this song gives no mention of the Gospel whatsoever. The song they sing is called ‘Send the Rain’ which is written by Aaron Butler of the Christian Rock band Ol’ Skool. You can visit their biography here - www.unsigned.com/olskool. I’d like to point out a quote they made from this biography regarding their own music: ‘Our music has a lot of roots in southern gospel, but with a touch of rock. We like to call it Southern Rock Gospel.’” (from a reader, Aug. 26, 2016).

Amazingly, “Send the Rain” promotes Pentecostal Latter Rain heresy. Note the following lyrics:

“Send the rain/ Send the fire/ Send the wind/ Send the Holy Ghost in power/ Send the rain.’”

The independent Baptist leaders of the Burlington meeting either did not recognize this heresy or didn’t care that they were singing false teaching, so long as it “stirs people up” and gets them to the altar. (See The Pentecostal-Charismatic Movements, available from Way of Life Literature, for a study on latter rain theology.)

CCM and contemporary Southern Gospel singers like doctrinally weak lyrics because they want a broad ministry.

This is also why we don’t want an exclusive diet of Revivalist Songs. These were written in the revivalist era c. 1850-1940 and were geared for a mixed-multitude, interdenominational evangelistic forum, such as the the crusades of Charles Finney, D.L. Moody, and Billy Sunday. The message and theology tend to be pretty basic in order to facilitate ease of learning and interdenominational ministry. All of the prominent evangelists of that era were interdenominational, and the songs and hymns were designed for that context so that “controversial” doctrines were downplayed. 

The revivalist emphasis was promoted through the influence of the Sword of the Lord’s Soul Stirring Songs. John R. Rice conducted interdenominational city-wide evangelistic crusades earlier in his career. 

Revivalist songs often lack theological depth. Examples are “Tell Me the Old Old Story,” “There’ll Be No Dark Valley,” “Throw out the Life Line,” “Wonderful Words of Life,” “I Need Thee Every Hour,” “The Cleansing Fountain,” “Faith Is the Victory,” and “Trusting Jesus.” Other examples are some of those popularized by Torrey’s song leader, Charles Alexander: “What a Wonderful Savior,” “When We All Get to Heaven,” “Showers of Blessing,” “A New Name Written Down in Glory,” and “God Will Take Care of You.” 

In such songs, there is some good doctrine, some exhortation and edification, but the message tends to be simplistic and repetitive. There is not a lot of theological depth whereby the minds and hearts of the people are challenged and seriously built up. Revivalist songs tend to be light and frothy, more like a theological snack than a solid meal, more milk than meat.  

Consider “What Can Wash Away My Sin” by Robert Lowry.

1 What can wash away my sin? 

Nothing but the blood of Jesus. 

What can make me whole again? 

Nothing but the blood of Jesus. 

Refrain:

O precious is the flow 

that makes me white as snow; 

no other fount I know; 

nothing but the blood of Jesus. 

2 For my pardon this I see: 

nothing but the blood of Jesus. 

For my cleansing this my plea: 

nothing but the blood of Jesus. [Refrain]

3 Nothing can for sin atone: 

nothing but the blood of Jesus. 

Naught of good that I have done: 

nothing but the blood of Jesus. [Refrain]

4 This is all my hope and peace: 

nothing but the blood of Jesus. 

This is all my righteousness: 

nothing but the blood of Jesus. [Refrain]

There is nothing doctrinally wrong with this song. The blood of Christ and its power is an essential theme, of course, but the song is simplistic, superficial, and repetitive. Those who have grown up on this type of hymn think it is solid and substantive, but that is because they have been weaned on a shallow diet. I understand this, because I grew up with the revivalist hymns and have heard them sung in the hundreds of churches where I have preached. 

This is typical of many of the revivalist songs. 

Fed an exclusive diet of this type of hymn, a church tends to remain on a simplistic, shallow level. The congregation tends to stop thinking about the words, because of the lack of depth and the familiarity created by constant repetition of a small selection of songs. These songs don’t produce much growth. They don’t tend to spiritual adulthood.

Revivalist songs also tend to focus on evangelism. Examples are “The Light of the World” and “Wonderful Words of Life” and “Whosoever Heareth” by Philip Bliss, “Have You Any Room for Jesus?” by Daniel Whittle, “Come Every Soul by Sin Oppressed” by John Stockton. A church should definitely sing about evangelism, but it should do so on purpose at the right time and not just as a ritual and tradition. 

We will hasten to add that music from the revivalist era featured many beautiful and doctrinally solid songs and hymns (e.g., Fanny Crosby’s “All the Way My Saviour Leads Me,” Francis Havergal’s’ “Take My Life and Let It Be,” Edward Mote’s “My Hope Is Built,” D.W. Whittle’s “Moment by Moment,” Lina Sandell’s “Day by Day,” and Wade Robinson’s “Love with Everlasting Love”). 

Not all of the songs and hymns from the revivalist era were written for the revivalist context. Fanny Crosby, for example, wrote spiritual poemzzs which were put to music by various tunesmiths. She wasn’t writing her poems for interdenominational evangelistic crusades. 

We are not advocating the total rejection of revivalist songs and hymns. There are great many excellent hymns in these hymnbooks, and not every song and hymn we sing needs to be a theological bombshell. There is a place for some songs with a lighter, upbeat message. We are urging churches to be educated about the context and purpose of each hymn and to choose each one with wisdom and care. We need to think more seriously and do everything in the song service with clear biblical purpose, instead of being in the rut of near mindless tradition. The church’s music people need to be well educated in this business and choose songs with good theological content and spiritual depth and mostly avoid those that are shallow or merely sentimental. We need far more spiritual meat and potatoes hymns and far less cotton candy and donuts. 

And we need to continually expand the repertoire of hymns for the church’s spiritual progress. This is challenging and edifying and keeps the congregation from getting into a rut, which is so very easy to do. We list many resources for this endeavor in the section on “Expanding the Church’s Hymn Repertoire.”

The word “richly” in Colossians 3:16 also indicates beauty and excellence. “This word [‘richly’] in Greek, plousios, similar to its English equivalent, always bears both quantitative and qualitative denotations. That which is rich is both abundant and excellent. In our congregational singing the word of Christ is to dwell not just in abundance but with eloquence. And some of that eloquence is achieved poetically, or so the biblical models demonstrate: 1 Chronicles 16, for example, or the many psalms known to have been sung in the Temple, or the instances of corporate song in Revelation. The best English-language hymns will employ the devices of English poetry—meter, rhythm, sound, rhyme, imagery, and structured organization of ideas—to communicate the glory of God’s name as clearly and as memorably as possible” (“Message,” The Biblical Model of Congregational Singing, congsing.org).

3. It is a wise congregation (“in all wisdom,” Col. 3:16).

The Word of God must produce spiritual wisdom in our lives. It is not a matter of rote learning and rote memorizing. It is not a matter of hearing a lot of Bible preaching. It is not reading the Bible as a ritual. It is not a matter of knowledge and intellect only. The Word of God must get down into every part of our lives and conform us to God’s perfect will. It must produce godly Christian living in the home, at the schoolhouse, on the job, etc.

III. The singing is of psalms, hymns, and spiritual songs. 

Psalms, hymns, and spiritual songs describe a wide variety of singing material. This clearly refutes the idea held by some that we should sing only hymns.

We have God’s authorization to write new hymns and songs. And if we can write new hymns and songs, we can paraphrase the psalms, which is actually necessary for putting them into a singable format. 

1. The churches are to sing the PSALMS.

Psalms are the Psalms in our Bibles. There are 150 psalms that deal with every facet of God’s character and every situation in human life. Psalms is infinite in teaching. It is a whole world of revelation. William Law said, “Singing psalms awakes all that is good and holy within you, calling your spirits to their proper duty, setting you in your best posture toward heaven, and tuning all the powers of your soul to worship and adoration.” John Berridge, in the preface to his hymnbook, wrote, “The book of Psalms seems intended as a model for Hymns; and after this model I have copied as nearly as I could. Here we find instruction, exhortation, caution, and Christian experience, blended with prayer and praise. The thoughts are easy and free, flowing from the heart, and the language simple and plain, yet neat and elegant. And nothing, sure, can be more unsuitable than humble prayer uttered in pompous expressions.”

Since the largest book in the Bible is a songbook, we see the importance of sacred music before God.

The name of the book in Hebrew is te’hillim (songs of praises). The individual psalms are called miz’mor, meaning melody of praise. Psalmos (Psalms) is what the book is called in the New Testament (Lu. 20:42; 24:44; Ac. 1:20; Eph. 5:19; Col. 3:16; Jas. 5:13). Psalmos is from psallo, which refers to touching or plucking the strings of a harp.

The Psalms were sung by Israel (Ps. 95:2; 105:2). David invented special musical instruments for singing the Psalms (2 Ch. 7:6). In the temple, the psalms were sung by the Levities as we see in the separate study on Old Testament temple singing. The psalms were also doubtless sung by individuals and in homes and on many occasions. Psalms were sung during Passover. It is stated in the Talmud that the Hallel (Ps. 113-118) were sung in the morning service of the synagogue during Jewish holidays, the new moon, and during the Passover meal. The the songs of degrees (Ps. 120-134) were sung on the 15 steps leading from the Women’s Court to the Court of Israel. Internal evidence from the songs of degrees indicate that they might have been sung by pilgrims on their approach to the temple during the festivals ( Ps. 122:1; 132:7).

The Psalms were sung by Protestants and by old Baptists. 

See the report “Singing the Psalms.”

2. The churches are to sing HYMNS.

“Hymns” is a transliteration of the Greek humnos and “denotes a song of praise addressed to God.” In the verb form (humnéo) it is translated “sing praises” (Ac. 16:25; Heb. 2:12). In the context of Col. 3:16 and Eph. 5:19, “hymns” refer to worship hymns that are written by men and women other than the psalmists. 

3. The churches are to sing SPIRITUAL SONGS. 

“Spiritual songs” are also songs written by men and women other than the psalmists. The Greek word for song (ode) refers to songs in general, but it is qualified by the word “spiritual.”

The emphasis is on “spiritual.” This is a far-reaching doctrine. The Greek word for song (ode) refers to songs in general, but it is qualified by the word “spiritual.” This is the Greek pneumatikós, which means of the Spirit. It is connected with being filled with the Spirit (Eph. 5:18). That which is spiritual is Spirit-led, Spirit-controlled. Spiritual is the opposite of carnal and fleshly. Note how that “spiritual” is contrasted with “carnal” in 1 Co. 3:1 -- “And I, brethren, could not speak unto you as unto spiritual, but as unto carnal.” Paul is saying that we are to sing songs that are of the Spirit of God, songs that are holy and sacred, songs that are set apart for God, songs that are not carnal and fleshly, songs that are different in quality from the songs of the world, songs that are of a heavenly flavor rather than a worldly.

Thus, we have God’s authorization to write new hymns and songs. And if we can write new hymns and songs, we can paraphrase the psalms, which is actually necessary for putting them into a singable format. Psalms, hymns, and spiritual songs describe a wide variety of singing material. This clearly refutes the idea held by some that we should sing only hymns.

This describes a variety of songs. We aren’t limited to the Psalms themselves. 

IV. The singing is to teach and admonish one another.

“speaking to yourselves” (Eph. 5:19); “teaching and admonishing one another” Col. 3:16).

The emphasis is on the congregation singing as a body. The song service is a “one another” ministry; it is the body building itself up. “Speaking to yourselves in psalms and hymns and spiritual songs” (Eph. 5:19). Congregational singing is the exercise of Eph. 4:16, “From whom the whole body fitly joined together and compacted by that which every joint supplieth, according to the effectual working in the measure of every part, maketh increase of the body unto the edifying of itself in love.” 

“Teach” is didásko, the common Greek word for teaching and instructing in all of its aspects. 

“Admonish” is nouthetéo, “from nous (mind) and tithemi (to place),” but it is not merely to bring to remembrance; it is to warn and exhort. Of the eight times it is used in the New Testament, it is translated “warn” four times (Ac. 20:31; 1 Co. 4:14; Col. 1:28; 1 Th. 5:14) and “admonish” four times (Ro. 15:14; Col. 3:16; 1 Th. 5:12; 2 Th. 3:15).

This requires choosing the type of songs and hymns that facilitate teaching and admonishing. It requires songs and hymns of spiritual and doctrinal depth. 

Everything in the church services is to edify. This is the theme of 1 Corinthians 14. “... that the church may receive edifying ... seek that ye may excel to the edifying of the church ... Let all things be done unto edifying” (vv. 5, 12, 26). 

There is no place for entertainment in the house of God. Many churches today mix the secular with the spiritual, such as singing secular carols at Christmas (i.e., “Jingle Bells” and “Deck the Halls”), but this is not scriptural, as there is no spiritual edification and God is not glorified.

Consider some things that can hinder the ministry of “speaking to yourselves”: 

First, the ministry of “speaking to yourselves” is hindered if the people are nominal and lukewarm and aren’t truly walking with Christ and obeying God’s Word. In this situation, the words are sung as a mere religious ritual, because the people aren’t living the reality of the lyrics. If such people sing, “Who is on the Lord’s side?” they are singing empty words, because they themselves aren’t on the Lord’s side! If they sing, “Throw out the lifeline,” they are singing empty words, because they aren’t busy in evangelism and therefore can’t truly exhort one another to throw out the lifeline.

Second, the ministry of “speaking to yourselves” is hindered if the people don’t understand what they should be doing and if they don’t engage in it enthusiastically from the heart. It is the song leader’s job to educate and exhort and encourage the people for this ministry. The congregational singing should be prophesying in the sense of 1 Co. 14:3, “But he that prophesieth speaketh unto men to edification, and exhortation, and comfort.” We see in 1 Ch. 25:3 that God’s people can prophesy through sacred music. “... who prophesied with a harp, to give thanks and to praise the LORD.” This might be referenced in 1 Co. 14:23-25, where we see all of the members of the church prophesying. 

Third, the ministry of “speaking to yourselves” can be hindered by choosing songs with a corrupt theological message. If the congregation is singing heresy, that is the opposite of teaching and admonishing one another with truth. We deal with this in the section “Test for the Congregation’s Music.” 

Fourth, the ministry of “speaking to yourselves” can be hindered by choosing songs with a shallow theological message. We deal with this in the section “Test for the Congregation’s Music.”

The point is that the church’s music people must be careful to choose songs with good theological content and spiritual depth rather than those that are shallow or merely sentimental. We need more spiritual meat and potatoes hymns and less Rice Krispies and donuts.  

Fifth, the ministry of “speaking to yourselves” can be hindered if the congregants cannot hear one another sing. “Speaking to yourselves” requires that the voices of the congregation be heard clearly. Nothing should overwhelm the voices, whether it is a leader singing into a mic or musical instruments that are played too loudly. Sometimes we sing a cappella to better facilitate teaching and admonishing one another. For that, the leader does not sing into the mic, so that his voice blends with the congregation rather than predominates. Ideally, the church should design its auditorium to facilitate “speaking to yourselves.” I have been in many churches in which the voices are swallowed up by poor acoustics. A church cannot always obtain a facility with good acoustics for congregational singing, but it can aim for this and can sometimes take steps toward this end, such as lowering the ceiling.

Sixth, the ministry of “speaking to yourselves” can be hindered if the music is so fast that the congregants cannot readily grasp the message. Some songs should be sung in a lively manner, but none should be sung so fast that the message is de-emphasized. Teaching and admonishing one another requires slowing down in order to understand and savor the message and speak that message to one another. Even the most lively revival songs in the heyday of the revivalist evangelistic movement were not sung very fast compared to how they are often sung today. Consider the following samples from Homer Rodeheaver, Charles Alexander, and Ira Sankey, three of the most prominent evangelistic song leaders of that era:

https://www.youtube.com/watch?v=dAgun-X58kE

https://www.youtube.com/watch?v=ZZamoSNDsiQ

https://www.youtube.com/watch?v=mbcWklq12nk

V. The singing is to the Lord.

“singing and making melody in your heart to the Lord” (Eph. 5:19); “singing with grace in your hearts to the Lord” (Col. 3:16).

Congregational singing should be true worship directed to God. “Praise the LORD with harp: sing unto him with the psaltery and an instrument of ten strings. Sing unto him a new song” (Ps. 33:3); “O sing unto the LORD a new song: sing unto the LORD, all the earth” (Ps. 96:1); “O sing unto the LORD” (Ps. 98:1); “Sing unto the LORD with the harp; with the harp, and the voice of a psalm” (Ps. 98:4-5); “Praise ye the LORD. Sing unto the LORD a new song, and his praise in the congregation of saints” (Ps. 149:1); “Sing unto the LORD a new song, and his praise from the end of the earth” (Isa. 42:10). 

Everything is to be “to the Lord.” Even when teaching and admonishing one another in psalms, hymns, and spiritual songs, we are to be singing to the Lord. It is for His glory. 

“It is noteworthy how frequently worshippers teach and admonish one another in the Bible. If references to God in the third person indicate that somebody other than God is being addressed, then, in the Psalms, for example, verses addressed to beings other than God figure just as prominently as do verses addressed to God himself. The psalmists move fluidly back and forth between addressing him and referring to him in the third person, and between addressing him and addressing fellow creatures. This suggests that they intend to sing to both simultaneously, for otherwise the transitions would be jarring. In fact, as 1 Corinthians 14 makes clear, worshippers can address God and man simultaneously. It is not always clear which psalms were intended for corporate worship, but in a sample of those that were clearly so intended (Ps. 30 because of its superscription; Ps. 96, 105, and 106 because of the quotations in 1 Chr. 16; Ps. 100, 106, 107, 118, and 136 because of their refrain, “for his steadfast love endures forever”; and Ps. 104–106, 111–113, 115–117, 135, and 146–150 because of their refrain, “Hallelujah!”) only 6% of verses are addressed directly to God (22 out of 369), whereas 93% are addressed to others: 45% addressed directly to others and 48% addressed implicitly to them through third-person references to God. Only 1% of the verses are addressed to the self” (“Audience,” A Biblical Model of Congregational Singing, congsing.org). 

“The Lord” is Jesus Christ. He is Lord of lords. He made me; He owns me; He loves me; He redeemed me; He cares for me. I owe Him everything; every blessing I have ever enjoyed came from His hand; my sole purpose is to live for His pleasure and glory. Congregational singing is an opportunity for God’s people to express thanksgiving to their Saviour God.

“For of him, and through him, and to him, are all things: to whom be glory for ever. Amen” (Ro. 11:36)

“he giveth to all life, and breath, and all things” (Ac. 17:25)

“in him we live, and move, and have our being” (Ac. 17:28)

“by him were all things created ... And he is before all things, and by him all things consist” (Col. 1:16-17)

Singing “to the Lord” means the minds of God’s people are to be focused purposefully on the Lord. Each member has a responsibility not to let his mind drift to lesser things. 

In our main weekly service, we begin with a time of private, quiet prayer for the purpose of preparing our minds for the service. 

VI. The singing is from the heart.

“singing and making melody in your heart to the Lord” (Eph. 5:19); “singing with grace in your hearts” (Col. 3:16)

The focus is on the heart. 

“Heart” is singular in Eph. 5:19 and plural in Col. 3:16. This means that the hearts of the congregation as a whole are to be engaged in the singing, and the heart of each individual is to be engaged. 

Both mouth and heart are to be engaged. The singing is not unthinking, unfeeling. It is not a religious ritual, not mere duty, not habit or tradition, not just mindless loud singing like a boisterous child. 

“Grace in your hearts” means the singers must be born again, which is the only way to experience God’s grace. We see that a church with a regenerate church membership is the only type of church that can obey these injunctions. 

The singer must understand God’s grace. He must be biblically educated, and the better educated he is, the better he can sing with grace in his heart.

The singer must be conscious of God’s grace and be in fellowship with God’s grace. 

The singer must sing from the heart, not just with head knowledge. 

TEST FOR CONGREGATIONAL SONGS AND HYMNS

The passages in Ephesians 5:18-19 and Colossians 3:16 also provide a test of principles by which congregations can analyze their songs and hymns.

1. The songs must be spiritual. 

“Spiritual songs” (Col. 3:16) are songs written by men and women other than the psalmists. The Greek word for song (ode) refers to songs in general, but it is qualified by the word “spiritual.”

The emphasis is on “spiritual.” This is a far-reaching doctrine. The Greek word for song (ode) refers to songs in general, but it is qualified by the word “spiritual.” This is the Greek pneumatikós, which means of the Spirit. It is connected with being filled with the Spirit (Eph. 5:18). That which is spiritual is Spirit-led, Spirit-controlled. Spiritual is the opposite of carnal and fleshly and worldly. Note how that “spiritual” is contrasted with “carnal” in 1 Co. 3:1 -- “And I, brethren, could not speak unto you as unto spiritual, but as unto carnal.” 

Paul is saying that we are to sing songs that are of the Spirit of God, songs that are holy and sacred, songs that are set apart for God, songs that are not carnal and fleshly and worldly, songs that are different in quality from the songs of the world, songs that are of a heavenly flavor rather than a worldly.

2. The songs must be in accordance with God’s Word.

“Let the word of Christ dwell in your richly, teaching and admonishing one another...” (Col. 3:16).

We must sing the Word of Christ. The songs must be filled with God’s Word. The songs must be doctrinally sound and perfectly conformable to Scripture. “Godly music is word-enriched and loaded with sound doctrine. Godly music packages Bible doctrines in memorable format” (Chris Starr). 

God’s people must weigh every song and hymn by the absolute standard of God’s Word. Just because a song is in a good hymnbook doesn’t mean that it is sound. Just because it has a pleasant tune and people like it doesn’t mean that it is acceptable. 

For example, the chorus “Spirit of the Living God” is a prayer addressed to the Spirit, which we never see in Scripture. We are taught to pray to the Father (Mt. 6:9). And the idea of the Spirit falling fresh on me isn’t Scriptural. He doesn’t fall on God’s people; He indwells them. 

“The Battle Hymn of the Republic” teaches the liberal social gospel. The author, Julia Ward Howe, was a Unitarian universalist who rejected Jesus Christ as the Son of God. She interpreted the Union armies of the American North as the coming of Christ. The “watch-fires” of the Union army camps are the altar of God, and “the burnish’d rows of steel” bayonets are the gospel. “We’ve a Story to Tell to the Nations” teaches the post-millennial heresy that the preaching of the gospel will bring in Christ’s kingdom by “conquering evil” and “shattering the spear and sword.” 

Some popular hymns are written from the perspective of Holiness perfectionist doctrine. This refers to a “second blessing” experience of perfect holiness or “entire sanctification.”  

Consider Charles Wesley’s hymn “Love Divine, All Loves Excelling.” It says, “Let us find that second rest; take away our bent to sinning...” That is the Methodist doctrine of perfectionism.

Phoebe Palmer’s “The Cleansing Wave” teaches entire holiness. “The cleansing stream I see! I see! I plunge, and oh, it cleanseth me! ... I see the new creation rise, I hear the speaking blood; it speaks, POLLUTED NATURE DIED, sinks ‘neath the cleansing flood. I rise to walk in Heavn’s own light, ABOVE THE WORLD AND SIN...” This song is not talking about positional sanctification. It is talking about perfect holiness in this present life. Palmer was an influential Methodist evangelist who claimed to have experienced “entire sanctification” in 1837. She preached in churches, conferences, and camp meetings. She preached in the United Kingdom for several years beginning in 1859, and in 1864 she began publishing the monthly magazine The Guide to Holiness. Her book The Way of Holiness was widely read.

Charle P. Jones’ “Come unto Me” (1908) teaches entire sanctification.” It says, “Have you by temptation often conquered been, has a sense of weakness brought distress within? CHRIST WILL SANCTIFY YOU, IF YOU’LL CLAIM HIS BEST; in the Holy Spirit, He will give you rest.”

Fanny Crosby was a Methodist who believed in perfectionist theology. Though most of her hymns do not teach perfectionism, “Blessed Assurance” does. Fanny attended John Street Methodist Church in New York City, where Phoebe Knapp also attended. Phoebe was the daughter of the aforementioned perfectionist preacher Phoebe Palmer. Best friends, Fanny and Phoebe Knapp wrote “Blessed Assurance” together. One day in her room at the Savoy Hotel, Phoebe played a tune for Fanny on her personal pipe organ and asked, “What does this tune say?” Fanny replied, “Why, that says blessed assurance, Jesus is mine,” and she wrote the words to the hymn right then and there (“Phoebe Palmer Knapp: Rich, Beautiful, Charitable,” June 2007, Christianity.com).“Blessed Assurance” teaches perfectionism. “PERFECT SUBMISSION, PERFECT DELIGHT, visions of rapture now burst on my sight ... PERFECT submission, ALL is at rest, I in my Savior am happy and blest, watching and waiting, looking above, filled with his goodness, lost in his love.” No believer in this present life experiences perfect submission, perfect delight, and perfect rest. That is the promise of perfectionist doctrine, but it isn’t scriptural and can lead to discouragement and even shipwreck. 

Charles Gabriel’s “Pentecostal Power” (1912) teaches Methodist holiness doctrine. “With cleansing, purifying flame,, descend on us today ... All self consume, all sin destroy, ... Thy promise we believe, and will not let thee go until the blessing we receive.” This refers to the “second blessing” of perfect holiness. 

Other popular hymns are written from the perspective of the Keswick doctrine. This is an emphasis on a second blessing or a crisis experience that transports the believer above the struggles of the “normal Christian life” into a state of higher holiness. It is called “higher life,” “deeper life,” “exchanged life,” “the abiding life,” “the abundant life,” “full surrender,” “the rest of faith,” “the life of faith,” “walking in revival,” “constant peace,” “the overflowing cup.” It has been described as “let go and let God.” The essence of the Keswick experience is to come to a place of complete surrender to, and rest in, Christ so that the daily struggle with the flesh is over. It is to be dead to sin and alive to Christ both positionally and practically. It is an experience subsequent to and different from justification and is obtained only by those who pursue it. 

Consider the influential book Calvary Road by Roy Hession. It describes an experience called “walking in revival,” “walking in the way of the cross,” and “the highway life” that is achieved by focusing one’s attention on Calvary. It contains many excellent teachings on dying to self, surrender to God, humility, and sensitivity to sin. But there is an overriding emphasis that one can walk in a near perfect spiritual revival experience that is described as a “life that will fill us and overflow through us,” “constant peace,” “walking along the Highway, with hearts overflowing,” “cups overflowing.” Hession said that when he first came to this understanding and experience it “was like beginning my Christian life all over again.” “I recounted my struggles with self and acknowledged the new relationship with Jesus which I had entered by faith. ... In the light of our own recent experience of Christ, we preached a two-fold message: full salvation for the Christian quite as much as an initial salvation for the non-Christian. ... If consecration is thorough and complete, it need not be repeated. ‘Reconsecration’ is the language of piecemeal surrender to the Lord Jesus Christ” (Hessian, My Calvary Road). Thus Hession taught that it is necessary for the believer to enter into a “second experience” of Christ, a “full salvation,” and that if one achieves this experience he will be completely and permanently surrendered and have a daily “overflowing cup” Christian life.

Frances Ridley Havergal has been called “Keswick’s hymnist.” She claimed to have come to the deeper life experience in 1873. Her beautiful hymn “Like a River Glorious” reflects deeper life theology. It speaks of “perfect peace” and being hidden in the hollow of His blessed hand, where “NOT A SURGE of worry, NOT A SHADE of care, not a blast of hurry touch the spirit there.” 

A great deal of Contemporary Christian Music contains ecumenical and charismatic doctrine, me-centered doctrine, or it presents a vague message that lacks doctrinal clarity and strength. We have documented this in The Satanic Attack on Sacred Music, which is a course consisting of a video series and textbook.

3. The songs must have a melody that is easy to sing. 

Melody is the emphasis of Scripture when it comes to the music itself. Melody is the simple tune, the most basic element of music. It is what we sing in our own hearts. We can’t sing harmony and chords. God’s Word is teaching us to keep the music simple so that the music doesn’t distract from the message of the words. There should be a good singable melody and the rest of the music should never overwhelm the melody. When we use instruments, they should be used in such a way that they don’t overwhelm or contradict or otherwise interfere with the message of the words. Isaac Watts’ Psalter, with its five meters, is an example of singing hymns to simple melodies. 

4. The songs must be worshipful. 

To sing “to the Lord” is worship (Eph. 5:19; Col. 3:16). Everything in the church services must be for the Lord, including all of its music. In Revelation 1-3, we see that Christ walks in the midst of the churches. He holds the messengers in His hand. He sees everything and weighs everything. He is the creator and owner of the church. He said, “I will build MY church...” (Mt. 16:18). He can spew a church out of His mouth (Re. 3:15-16) and remove a church’s candlestick so that it is no longer Christ’s church (Re. 2:5).

Every song and hymn that is sung must honor the Lord and please Him. 

5. The songs must teach and admonish (Col. 3:16).

The songs and hymns must be theologically sound and biblically substantive so that the saints can minister to one another. The songs must not be mindless and shallow. They must be convicting, not silly, not entertainment.

See IV. The singing is to teach and admonish one another.

HINDRANCES TO BIBLICAL CONGREGATIONAL SINGING

It might be profitable to summarize some of the things that hinder or even ruin the biblical ministry of congregational singing.  

First, the ministry of biblical congregational singing can be corrupted if the people are nominal and lukewarm and aren’t walking with Christ and obeying God’s Word. As we have seen, scriptural congregational begins with a congregation that is filled with God’s Spirit and God’s Word. If not, the songs are sung as a mere religious ritual, because the people aren’t living the reality of the lyrics. If such people sing, “Who is on the Lord’s side?” they are singing empty words, because they themselves aren’t on the Lord’s side! If they sing, “Throw out the lifeline,” they are singing empty words, because they aren’t busy in evangelism and therefore can’t honestly exhort one another to throw out the lifeline.

Second, the ministry of biblical congregational singing can be corrupted if the people don’t understand what they should be doing and if they don’t engage in it enthusiastically from the heart. It is the job of the church’s leaders and teachers to educate and exhort and encourage the people for this ministry. The congregational singing should be prophesying in the sense of 1 Co. 14:3, “But he that prophesieth speaketh unto men to edification, and exhortation, and comfort.” We see in 1 Ch. 25:3, that God’s people can prophesy through sacred music. This might be referenced in 1 Co. 14:23-25, where we see all of the members prophesying. 

Third, the ministry of biblical congregational singing can be corrupted by a sing-along style. A sing-along style is an emphasis on singing along with a leader. The attention of the singers is on the leader and on singing, not on singing to one another and singing to the Lord. 

Fourth, the biblical ministry of congregational singing can be corrupted by choosing songs with false theological message. If the congregation is singing heresy, that is the opposite of teaching and admonishing one another with truth. We deal more with this under the section on “Let the Word of Christ dwell in your richly.”

Fifth, the ministry of biblical congregational singing can be corrupted by songs with a shallow theological message. Again, we deal with this under the section on “Let the Word of Christ dwell in your richly.”

Sixth, the ministry of biblical congregational singing can be corrupted if the tunes are too complex. “The purpose of tunes in traditional Protestant singing is to enable large numbers of ordinary believers to communicate ‘the word of Christ’ to God and to each other. AZMON’s [the tune to Charles Wesley’s ‘Oh, for a Thousand Tongues to Sing’] catchy melody and straightforward rhythms make it easy for congregants to carry the tune without external support, and thus it facilitates the traditional purpose of Protestant singing ... [T]he tune must be simple and easy to sing if it is to fulfil its purpose: to help everybody communicate biblical realities in words” (Paul Munson and Joshua Drake, “Introduction,” The Biblical Model of Congregational Singing, congsing.org).

Seventh, the ministry of biblical congregational singing can be corrupted if the congregants cannot hear one another sing. “Speaking to yourselves” requires that the voices of the congregation be heard clearly. Nothing should overwhelm the voices, whether it is a leader singing into a mic or musical instruments that are played too loudly. Sometimes we sing a cappella to better facilitate teaching and admonishing one another. For that, the leader does not sing into the mic, so that his voice blends with the congregation rather than predominates. Ideally, the church should design its auditorium to facilitate “speaking to yourselves.” I have been in many churches in which the voices are swallowed up by poor acoustics. A church cannot always obtain a facility with good acoustics for congregational singing, but it can aim for this and can sometimes take steps toward this end, such as lowering the ceiling.

Eighth, the ministry of biblical congregational singing can be corrupted by too much focus on special music: solos, quartets, choirs, and instrumentals. These are not inherently wrong or unscriptural. A soloist or choir can speak to the church body in psalms, hymns, and spiritual songs. The problem is that the church body is a silent and inactive participant in this, and it easily becomes entertainment or something to be endured, depending on the quality. It is essential that the church analyze these things continually to avoid slipping into error or carnality. It is essential that the church maintain the highest spiritual standards for any and all singers and musicians. They must be saved, Spirit-filled people (Eph. 5:18), filled with Gods Word (Col. 3:16), people who sing to God from a right heart (Eph. 5:19). They must be educated about the biblical purpose of singing in the church so that they understand what they should and should not be doing. Everything must be done in the fear of God and in accordance with His Word.

Following are some suggestions for keeping special music within Scriptural boundaries: 

(1) The church must be careful to use only spiritual people as singers and musicians. Carnal, worldly people cannot produce spiritual music. The principle of 1 Timothy 3:10 should be employed, which is that people should first prove themselves, then be allowed to minister. Many churches have the idea that carnal people should be given the opportunity to minister so that perhaps they will become spiritual. That is not the way of God’s Word. 

(2) Be wise and hyper-careful about the choice of special music. It has been observed that contemporary music first gets a foothold in a church by way of specials. All special music should be approved by those who are well educated in discerning sacred from traditional music.

(3) Put the emphasis on the message. The singers and musicians must be careful not to draw attention to themselves by sensual or flashy dress styles or by any other means. There should be no hint of a performance style, such as holding microphones, swaying, etc. There must not be sensual vocal techniques such as sipping and sliding and breathiness. 

(4) Let the congregation sing along with the singers/musicians. This takes away from a performance style and returns the emphasis to singing to one another. We use soloists and trios and quartets to introduce new songs to the congregation. The special singers sing the new song, then the congregation joins in with them to learn it. This turns what could be a performance into a church body ministry, which is the emphasis of Scripture. 

(5) Don’t use music without words. The playing of a hymn’s melody does not edify spiritually without the words. Biblical edifying comes by the understanding, not by the mystical emotion produced by music itself. “I will sing with the spirit, and I will sing with the understanding also” (1 Co. 14:15). Since all things are to be done unto edifying (1 Co. 14:26), it is important to emphasize the words at all times. If a musician is playing a special without singers, it is a good practice to encourage the congregation to turn to the song in the hymnal and to meditate on the words. 

(6) A singing group or choir must be careful to enunciate every word so that it can be understood by the congregation. Many times I have been unable to hear the words of a special distinctly enough to get the message. It is impossible to edify the church body and to teach and admonish one another if the words of a song are not clearly heard and understood. If the special is in the hymnal, the people can be encouraged to follow along and meditate on the words, or the words could be projected onto a screen for the same purpose.

Ninth, the ministry of biblical congregational singing can be corrupted if the music is so fast that the congregants cannot readily grasp the message. Some songs should be sung in a lively manner, but none should be sung too fast for the message to be de-emphasized. Teaching and admonishing one another requires slowing down in order to understand and savor the message and speak that message to one another. Even the most lively revival songs in the heyday of the revivalist evangelistic movement were not sung very fast. Consider the following samples from Homer Rodeheaver, Charles Alexander, and Ira Sankey, three of the most prominent evangelistic song leaders of that era:

https://www.youtube.com/watch?v=dAgun-X58kE

https://www.youtube.com/watch?v=ZZamoSNDsiQ

https://www.youtube.com/watch?v=mbcWklq12nk

Tenth, the ministry of biblical congregational singing can be corrupted by worldly music. There should be no element of the world in church music. It is to be “spiritual,” which is the opposite of fleshly and worldly. Spiritual music will never fit in a nightclub and nightclub music will never fit in a sacred music context. See The Satanic Attack on Sacred Music, “The Language of Music Styles” https://www.wayoflife.org/s3/satanic_attack/

Eleventh, the ministry of biblical congregational singing can be corrupted by worldly singing styles. These include scooping and sliding, improvisation, breathiness, and vocal fry. All of these are styles of singing developed by the world for worldly music to satisfy the lust of the flesh, the lust of the eyes, and the pride of life (1 Jo. 2:15-17). See The Satanic Attack on Sacred Music,

 https://www.wayoflife.org/s3/satanic_attack/

Twelfth, the ministry of biblical congregational singing can be corrupted by a contemporary style of presentation. Not only do contemporary churches ape the world’s music, they copy the world’s manner of presentation. The focus and attention is on the musicians and singers and the stage. The auditorium is darkened and spotlights are employed. The images of the musicians and singers are projected onto large screens. Often video clips and photos and various artworks are employed. Even if solid sacred hymns were projected on the screens and sung to traditional sacred music, the attention of the congregants would be distracted from the biblical business of meditating on the message of the lyrics for personal edification, for admonishing and teaching one another another, and singing to the Lord.