Home Singing a new song Volume 2 Contents
Introduction
About this second volume
As I said in the introduction to the first volume of ‘Singing a New Song’, ‘Hymnbooks and books of religious songs are, in essence, books of theology’. As with other lyricists, my lyrics express my theology. Thankfully it continues to change and, I hope, mature as the years go by, so there are different emphases in this volume compared with the first volume of ‘Singing a New Song’.
The sections in this volume are quite different to those in the first volume. There are sections on the Environment, Social Justice and Violence, and also a few special sections for children of different ages, and another with some fun songs. The title of each hymn endeavours to point to the theme of the lyrics.
There is also a small section given to the ‘The Canberra Affirmation’ - an affirmation from a group of ‘progressive’ Christians in Canberra, ACT, which has endeavoured to put into words their ‘common understandings’. I have tried to put these into verse so that they can be sung. In so doing, I hope I have not distorted the meanings or emphases of any of their statements.
On some pages I have printed, above the lyric, a quotation from a theologian or biblical scholar which has prompted me into writing. I do hope I have not misrepresented the person quoted and I hope the lyrics may stimulate more thought around the subject of the quotation.
As I said in the previous volume, ‘I hope you find the contents of this collection of new lyrics to well-loved traditional tunes both helpful and useful. As you sing, I hope the words encourage you to think a bit more about your faith.’
Concerning the music
I encourage church musicians to seek out alternative tunes which may better suit their particular situation, different to the suggested tunes in this hymnbook. As I have said on the ‘Copyright’ page, tunes which still have copyright limitations can be used for accompanying congregational singing of my lyrics. If you choose other melodies, not suggested or printed in this collection, please be careful to make sure that the lyrics do ‘fit’ well. There have been occasions when different tunes have been selected but which, although the number of syllables is correct, the accent within the words is not suitable and that makes singing quite disjointed. This of course does nothing at all to enhance the worship experience. In this volume I have included more (about 20) traditional tunes which cannot be found in the Australian Hymnbook (AHB) or Together in Song (TiS). These can be accessed in the Presbyterian Hymnary or the Methodist Hymn-book. In each case, the number of the tune in each hymnbook has been identified. I have used these tunes, many of which are bright rousing melodies, in a hope that at least some may be ‘resurrected’.
Concerning the words
I believe some of the emphases in the proclamation of the gospel message have changed somewhat in the last 50 years. Some melodies, it has been stated, are not re-printed in the AHB or TiS because of lack of use. Maybe, in some instances, this has been because of the words.
Hymns with words like:
Golden harps are sounding,
Angel voices sing,
Pearly gates are open,
Opened for the King.
and
Onward Christian Soldiers going as to war,
With the cross of Jesus going on before.
and
I love to hear the story
Which angel voices tell;
How once the king of glory
Came down on earth to dwell.
and
Yield not in temptation
For yielding is sin.
and
When he cometh, when he cometh
To make up his jewels,
All his jewels, precious jewels,
His loved and his own.
may have been deleted at least partly by reason of their words. I could give many more examples of hymns left out of the more recent hymnbooks partly, I would think, because of the words and their accompanying theology. I have used the melodies associated with the lyrics quoted, as well as for others, in an effort to ‘reclaim’ the tunes for worshippers who have memories similar to mine. My words may be more acceptable.
In the Editor’s Introduction to Together in Song, comment is made at the beginning of the section entitled ‘Words’ and I quote, “Although the gospel of Christ is the same today as ever, the language in which it is expressed and the social situation in which it is experienced do change. To communicate the truth without ambiguity it is necessary to reconsider the words we use to convey this ageless gospel.”
I, unlike a church committee with representatives from many denominations, do not have to contend with all the compromises which I imagine are necessary to produce a hymnbook acceptable for all its prospective users.
The Editor’s Introduction in Together in Song does not make specific reference to certain changed theological emphases, probably leaving this to the content of the hymnbook to speak for itself. Changes in theological emphasis, I believe, are essential for our congregational participation in worship to remain challenging and enriching. I am profoundly thankful for the hymns of past years which have nurtured my faith and given me enthusiasm for the gospel. Maybe I have, in my faith journey, deviated away from orthodoxy further than many. This is probably the reason why I have a passion for new words which give worship leaders a wider choice of images and interpretations in the words of the hymns they choose.
Regarding ‘Classics’
The Editor’s Introduction in Together in Song also makes comment about refraining ‘from altering hymns which are classics of their kind’. This could be said of the lyrics which are indelibly etched into memories as being ‘part and parcel’ of a particular tune. I have been advised on a few occasions not to try to put new words to such melodies. I have not ignored this advice but after much thought I have proceeded anyway with new words to such tunes as St Gertrude - ‘Onward Christian Soldiers’ in this volume and Horsley - ‘There is a green hill far away’ in the first volume, to name a couple. In this volume I have even written different lyrics to some, what some people might say are, more modern ‘classics’ like ‘And can it be’ and ‘How great Thou art’.
I do not believe this is irresponsible because my efforts are aimed at enabling these melodies to be sung by worshippers who find the existing words unhelpful. If worship leaders find my lyrics unacceptable and prefer the traditional words, they are obviously free so to choose.
If the words have been at least partly responsible for the exclusion of some of the ‘old traditional’ hymns from the AHB and/or TiS, I find it a little bewildering why some hymns have been omitted while others have not. I have little doubt that there have been numerous different reactions to such omissions and inclusions, for both the AHB and TiS. While I am pleased that ‘Onward Christian soldiers’ has been omitted, I personally find it disturbing that ‘There is a green hill far away’ has been left in both the AHB and TiS. With words such as:
“There was no other good enough
To pay the price of sin;
He only could unlock the gate
Of heaven and let us in.”
I find this totally contrary to my understanding of the gospel. It is logically absurd to think that anyone except the resident/owner would put a lock on a gate or door of their ‘residence’. In its poetic imagery, the lyrics tell us that God has locked humans out of God’s presence. This is not the gospel, not the message of Jesus, nor the image of God that Jesus presents, as I understand them. I can no longer participate in singing this hymn, because of the words. I have written alternative words which are printed in the first volume of ‘Singing a New Song’. The tune is one I like very much.
Another one that gives me trouble, personally, is ‘Ride on. Ride on in majesty’ which again is in both the AHB and TiS. I find the image of ‘the Father on his sapphire throne awaits his own anointed Son’ unacceptable and so I don’t join in singing it. I have written alternative words to this tune as well as the one above, and they are also printed in the first volume of ‘Singing a New Song’.
My comment that ‘Hymnbooks are, in essence, books of theology’ is demonstrated well, I believe, by a comparison of the words of ‘And can it be’, AHB 138 and TiS 209 with No.18 in this book and between TiS 155 ‘How great thou art’ and No.19 in this book. I suggest the theological differences are rather stark, which may add reason for the refusal of some worship leaders to use my different words.
I believe there has been significant theological movement between the AHB and TiS, even in some of the ‘classics’. For instance, compare AHB 48 with TiS 123 - ‘Be Still my soul’. In the third verse in AHB the words are, ‘For Jesus can repay, from his own fullness all he takes away’, whereas in TiS the words are changed to ‘for Jesus can restore, the trust and hope that strengthened you before’. For me, this is a significant and welcome shift of emphasis both theologically and psychologically.
The above paragraphs are an example of the sort of thinking which I suggest is appropriate and necessary when approaching participation in public worship. I believe the words we sing are important. There are pages at the back of this volume which are specifically put there as possible starters for such conversations/discussions.
Grace and Peace George Stuart May 2008