Psunday Psalms: An Alphabetic Drama

King David, Chagall

Psunday Psalms
Devotional Thoughts on the Psalms

* * *

I will praise you, O LORD, with all my heart;
I will tell all your wonders
I will rejoice and exult in you
singing a hymn to Your name, O Most High.

But the LORD abides forever;
He has set up His throne for judgment;
it is He who judges the world with righteousness
rules the people with equity.
The LORD is a haven for the oppressed,
a haven in times of trouble.

The LORD is king forever and ever…

– Psalm 9:1-2, 8-10; 10:16, Tanakh (JPS)

* * *

Big Picture: Psalms 9-10 form one acrostic psalm [each stanza starting with a different letter of the Hebrew alphabet], dramatizing the Lord’s reign over the powers that threaten the lowly.

From James L. Mays’s Psalms commentary (Interpretation):

Psalms 9 and 10 are together a song of the people of God who live in faith in the reign of God in the midst of the afflictions of history. Though the song is divided into two parts in Hebrew manuscripts and in most English versions, it appears as one psalm in the Septuagint and in translations dependent on it. A number of features unify the two. Together they compose an acrostic psalm; every second poetic line begins with a successive letter of the Hebrew alphabet. Though the pattern of letters is broken in the middle of the alphabet, with some letters missing, it is nonetheless quite clear for most of the lines. There are also motifs and phrases common to the two, and a plan of composition for the whole.

…The comparison of the forms and themes and roles in Psalm 7, an individual prayer for help, with Psalms 9-10 will help one to see what is happening here. It is liturgical dramatization. The situation reflected in the composition is that of the postexilic congregation of the faithful whose life is beset and threatened by conditions and incidents caused by the succession of peoples who held power over them. The acrostic pattern is used, as it seems to be in all its appearances in the psalms, as a device of synthesis and comprehensiveness.

In the dual Psalm 9-10 we have an example of the creative writing and liturgical use of the psalms. The composer adapted genres of individual prayer and praise and linked them with congregational forms within the overall structure of the Hebrew alphabet. In so doing, Israel was blessed with a moving prayer for God to take up the cause of the lowly and bring about “a world determined by the justice of God’s reign” (Mays).

As we make our way through the Book of Psalms, we continue to see how the message of Psalm 2 is repeated and reinforced. The Lord is King and will rule through his Messiah; despite the current situation God’s people must endure and take refuge in God. And so we still pray today. “May your Kingdom come, may your will be done on earth as in heaven.”

iMonk Classic: Learning from the Psalms

Classic iMonk Post
by Michael Spencer
Undated

Note from CM: This is an excerpt from one of Michael Spencer’s essays called, “Learning from the Psalms,” in which he attempts to show how Scripture can guide us in worship and in our use of music.

* * *

So I would like to present the possibility that the book of Psalms does give us a good basis to evaluate worship music. And these are the criteria that I would use.

1. The presentation of the person of God should follow the clear teaching of the Bible. Biblical words and images are to be strongly preferred. Biblical language should be used in proportion to its use in scripture, so the worship of God as King would exceed worship of him as, for instance, husband.

2. The history of redemption is the great theme of worship, and personal experience cannot be divorced from what God has promised and what God has done in history. Songs that celebrate and recount the history of redemption are to be preferred, particularly as they recount God’s faithfulness, sovereignty and covenant love.

3. While songs of personal experience are appropriate, the great emphasis of worship should be the victory of God and the realities of the Gospel. Music should never obscure that fact that my own experience is not the center of redemptive history.

4. The language of a particular song may be either personal or corporate, but the clear emphasis of a corporate worship service should be the voice of the congregation speaking of their experience with their covenant God. Just as the Psalms integrate the personal into the congregational, so should our music today.

5. Songs that approach worship outside of the framework of Biblical revelation and redemption are to be considered inferior, and their limited use is more appropriate for individual worship rather than the worship of the congregation. We must be clear: They are not wrong, and they may be high expressions of reality and devotion, and still not be appropriate for congregational use.

6. Worship music should invite and encourage all God’s redeemed people to sing together in recounting the great deeds of the Lord on their behalf. Songs by individuals and groups should facilitate the worship of the congregation and not replace it. This should be an important concern for all music.

7. The Psalms have a pattern of declaring an intention to worship God in the congregation as a result of His mercy shown to an individual. Worship music should recognize this, and allow individual praise that invites the congregation to join in praising God for what he demonstrated to one that is true for all.

8. The great events and elements of redemption should joyfully occupy the worship of the church. The experiences and feelings of individuals form part of that worship, but they are not the final substance of it. (The “I” finally becomes the “We.”)

* * *

What about style? Do the Psalms help us settle the issue of what kind of music is appropriate for worship? Fortunately, God is wiser than to lead any one culture to assume that its particular norms and preferences should speak for the church in every time and place. I heard a very good brother make the case that certain hymn tunes conveyed the majesty of God better than others, and not being a relativist, I believe him. The tune of “Holy, Holy, Holy” and the tune of “Jingle Bells” are not interchangeable.

But the majesty of God may be addressed in a variety of musical styles, and as I have said in a previous article, a congregation is under an obligation to represent the diversity of its culture in its worship by the use of what is best in its setting, and what most gives glory to God in a way the entire congregation can affirm and participate in.

Saturday Ramblings 10.13.12

Greetings, iMonks, and welcome to the black-arm-band, I’m-in-mourning edition of Saturday Ramblings. After taking two games in San Francisco, the Cincinnati Reds returned home and promptly lost three straight to the godless Giants, thus ending what had been such a promising season. Is it better to have won the division and lost in the playoffs than to never have won (i.e., the Cubs) at all? That is a question too ponderous for me to consider in my bereavement. So if you don’t mind, let’s get to rambling …

Where is Danville, Kentucky, you ask? Who knows. But on Thursday night it was the center of the universe, if even for just a couple of hours, as Vice President Joe Biden and Rep. Paul Ryan pulled on their gloves and went at it for 15 solid rounds. It was Catholic vs. Catholic, yet it seemed more like Spy vs. Spy. Is the white Spy the good guy, or the black Spy? Both Spies, or neither Spy? And with two Catholics going at it, who was the Pope pulling for?

Most likely, Pope Benedict XVI was too busy celebrating the the 50th anniversary of Vatican II to watch the VP debate. Here is an article by the Pope recalling the council that modernized the Catholic Church. Ok, the article is not by THE Pope, but it is by John Pope.

Or maybe B16 was busy brushing up on his Arabic.

In any case, we know where presidential candidate Mitt Romney was. He was in Montreat, North Carolina, being blessed by the American pope, Billy Graham. Graham, who turns 94 the day after the elections, stopped just short of giving Romney his endorsement. Well, Billy Graham has earned the right to do what he wants, right? It’s just when people believe that Graham’s endorsement means the same as God’s endorsement that the trouble begins.

Continue reading “Saturday Ramblings 10.13.12”

The Incomparable Ken Medema

In 1974, my youth pastor invited an amazingly gifted pianist and singer to visit our youth group and perform at our church. His name was Ken Medema. Despite blindness, he had remarkable talent as an instrumentalist, vocalist, and creative songwriter. His enthusiasm was infectious, his humor hilarious, the depth of feeling by which he communicated his faith profound.

Ken is still making wonderful music, and perhaps we’ll talk more about him in days ahead. For today, enjoy this little story and performance about church music.

 

A Brief Lutheran Statement on the Arts

Here is another statement on the use of music (and other arts) in worship, this from the Evangelical Lutheran Church. We present this as yet another example of how churches and Christian traditions are thinking about these matters.

This brief summary is taken from the ELCA publication, The Use of the Means of Grace. You can download and read the entire statement HERE, and there is also a discussion guide available on the same page.

* * *

THE ARTS SERVE THE WORD

Principle:
Music, the visual arts, and the environment of our worship spaces embody the proclamation of the Word in Lutheran churches.

Application A:
Music is a servant of the Gospel and a principal means of worshiping God in Lutheran churches. Congregational song gathers the whole people to proclaim God’s mercy, to worship God, and to pray, in response to the readings of the day and in preparation for the Lord’s Supper.

Application B:
In similar ways the other arts also are called to serve the purposes of the Christian assembly. The visual arts and the spaces for worship assist the congregation to participate in worship, to focus on the essentials, and to embody the Gospel.

Application C:
In these times of deeper contact among cultures, our congregations do well to make respectful and hospitable use of the music, arts, and furnishings of many peoples. The Spirit of God calls people from every nation, all tribes, peoples, and languages to gather around the Gospel of Jesus Christ.

A few observations:

  • The use of music in worship is not an end in itself. It is a servant of the Gospel and is one way by which the congregation proclaims God’s Word.
  • It is, however, a principal means by which the entire congregation participates in the service of the Word and prepares for the Table.
  • Church music works in harmony with the other arts, including the architecture of and visual arts displayed in our worship spaces. These are designed to help the congregation participate, focus on the essentials, and become formed in faith.
  • Music and the arts must recognize the multicultural settings in which the church lives and worships. We should use these means with respect and hospitality as we call our neighbors to gather with us around the Gospel.

I like this concise statement. It says a great deal in a few well-chosen words. In conjunction with the other statements we have looked at so far (from the USCCB — Roman Catholic, and from Eric Wyse — Episcopal), it suggests a few principles that I’d like us to discuss.

  • Music in these historic traditions are understood in the context of the liturgy, and music is designed to serve the liturgy. It is the congregation’s practice of the liturgy in toto that is worship. In many congregations, particularly those of non-liturgical traditions, worship is virtually equated with the music portion of the service. What are your thoughts on this distinction?
  • The Lutheran tradition affirms that music is vitally important in Christian worship, primarily because it is one of the main practices that allows the entire congregation to participate in proclaiming the Gospel. This conviction comes directly from Martin Luther, who sought to restore congregational singing as a part of the Reformation. In your view, what helps a congregation more fully participate in and appreciate the music of the church? 
  • According to this statement, music does not stand alone but functions in cooperation with the other arts to enhance corporate worship. In your opinion, what do congregations need to think about when it comes to the visual aspects of their worship spaces?
  • Rather than using the term “relevant” to describe how congregations should think about the practice of music and the arts in their communities, this statement says that they should be “respectful” and “hospitable” to the various cultures around them. In your view, what should that look like?

The State Of Christian Radio

I began working in radio the same year I became a follower of Jesus, 1973. I worked in educational radio, Christian radio, general market radio. I taught broadcast management for 15 years. I worked at the first FM commercial station to play all contemporary Christian music in the nation. We were the pioneers in many ways.

There were programs that I loved to listen to. Unshackled by Pacific Garden Mission. Nightsounds with Bill Pearce. Thru The Bible with J. Vernon McGee. These were the staples I played on the air, and I devoured as a listener.

So I thought that, with my background, I would be in a good place to share with you a “State of Christian Radio” post. But then it hit me. I have no idea where Christian radio is today, because I don’t listen to it. I haven’t listened to religious radio for years. Or much radio other than sports in years. Radio—Christian and otherwise—left me some years ago when the FCC deregulated radio ownership. Now a handful of corporations own the majority of stations, AM and FM, in the U.S. A classic rock station in Louisville sounds the same as one in Omaha or Jacksonville. Talk radio is all syndicated. So I avoid it all together.

I do listen to WLW from Cincinnati on the internet at times. They still have a very local feel. But Christian radio? I have no idea.

One of our advertising partners is Jim Park’s Broken Road Radio. Jim talked with me about this idea some years ago, and now it is a reality. Jim is doing something different. Have you listened to it yet? If not, you might give it a try.

So, here is my summary of Christian radio at the moment: I have no clue.

Instead, I’m opening this up to you. Do you listen to Christian radio? Am I missing anything that you think makes for good, if not essential, listening? Are there programs or stations you listen to online that you would suggest others listen to? Or are you like me—a former listener who has moved on because there is just no real reason to listen today?

I’m not wanting this to devolve into a “Woe is the state of Christian music” post. I think we all agree much of today’s commercial Christian music is devoid of sincerity as well as talent. Perhaps in spite of this you’ve found a place to land to enjoy music that helps you in your walk with Jesus.

So, what do you say, iMonks?

 

Guest Post: Pulpit Freedom Sunday: Do We Really Think This Is a Good Idea?

Note from CM: Randy Thompson is one of our faithful readers and commenters. He and his wife Jill host and minister to pastors and church workers at Forest Haven, a retreat in Bradford, NH. At the FH blog, Randy writes regular words of encouragement to those dealing with the stresses of ministry, and we have featured some of his posts here.

Today, he contributes an opinion piece about last Sunday’s “Pulpit Freedom Sunday.”

* * *

Pulpit Freedom Sunday: Do We Really Think This Is a Good Idea?
by Randy Thompson

How is it, exactly, that Pulpit Freedom Sunday gives preachers freedom they don’t have? More specifically, what, exactly, will it give preachers freedom to say? To exercise this supposed freedom is to end up doing the exact opposite of its supposed intent. Pulpit Freedom Sunday isn’t for Christ, it’s for the IRS. Presumably, some pastors are happily and boldly endorsing candidates to their hearts content for no other reason than to annoy the IRS, with the hope that maybe the IRS will respond to the challenge, resulting in a court case that will keep lots of lawyers and preachers busy for a long time. And, come to think of it, where do these political endorsements end? Why settle for endorsing Presidential candidates? Why not take a more comprehensive and holistic view and endorse candidates all the way down to village dog catcher?

By seeking freedom to preach politics, preachers are doing so not on the basis of Christ as Lord but in relation to the IRS. It is “for freedom that Christ has set us free,” St. Paul tells us in Galatians, “stand firm therefore, and do not submit again to a yoke of slavery.” Pulpit Freedom Sunday is an almost Tea Party appeal to Caesar: “For tax exemptions the IRS has set us free; stand firm therefore and do not submit again to a yoke of government regulation.” I worry that Pulpit Freedom Sunday is a Right Wing version of a Hallmark Card holiday.

Continue reading “Guest Post: Pulpit Freedom Sunday: Do We Really Think This Is a Good Idea?”

C.S. Lewis — The Conservative Worshiper

One of the clearest statements of what might be termed the “conservative” position on the practice of worship was made by C.S. Lewis in Letters to Malcolm: Chiefly on Prayer.

I wonder how you respond to it.

“It looks as if they [innovative clergy] believed people can be lured to go to church by incessant brightenings, lightenings, lengthenings, abridgements, simplifications, and complications of the service. And it is probably true that a new, keen vicar will usually be able to form within his parish a minority who are in favour of his innovations. The majority, I believe, never are. Those who remain — many give up churchgoing altogether — merely endure.

“Novelty, simply as such, can have only an entertainment value.And they don’t go to church to be entertained. They go to use the service, or, if you prefer, to enact it. Every service is a structure of acts and words through which we receive a sacrament, or repent, or supplicate, or adore. And it enables us to do these things best — if you like, it ‘works’ best — when, through long familiarity, we don’t have to think about it. As long as you notice, and have to count, the steps, you are not yet dancing but only learning to dance. A good shoe is a shoe you don’t notice. Good reading becomes possible when you need not consciously think about eyes, or light, or print, or spelling. The perfect church service would be one we were almost unaware of; our attention would have been on God.

“But every novelty prevents this. It fixes our attention on the service itself; and thinking about the worship is a different thing from worshipping. The important question about the Grail was ‘for what does it serve?’ ‘‘Tis mad idolatry that makes the service greater than the god.’

“A still worse thing may happen. Novelty may fix our attention not even on the service but on the celebrant. You know what I mean. Try as one may to exclude it, the questions ‘What on earth is he up to now?’ will intrude. It lays one’s devotion waste. There is really some excuse for the man who said, ‘I wish they’d remember that the charge to Peter was Feed my sheep; not Try experiments on my rats, or even, Teach my performing dogs new tricks.’

“Thus my whole liturgiological position really boils down to an entreaty for permanence and uniformity. …But if each form is snatched away just when I am beginning to feel at home in it, then I can never make any progress in the art of worship. You give me no chance to acquire the trained habit — habito dell’arte.”


Ralph Martin on an Early Christian Hymn

One of the fundamental texts on worship for college and seminary students when I was in school was Ralph P. Martin’s Worship in the Early Church. I thought I’d go back to it and pull out an excerpt for our Church Music Month.

So here, from his chapter on “Hymns and Spiritual Songs” is a discussion about one of the text in the New Testament that likely represents lines from an early Christian hymn.

Ephesians v, 14 is usually regarded as the most cogent example of early Christian hymnology. And there are good grounds for this confidence. The introductory words, “Wherefore it says” read as though they were added expressly to prepare for the citation of a familiar passage, well known to Paul’s readers. The verse naturally falls into three lines on the grounds of style, with a swinging trochaic rhythm in the Greek and the employment of a rhetorical device by which the first two lines end with the same sound. A translation runs:

“Awake, O sleeper,
From thy grave arise.
The light of Christ upon thee shines.”

As a whole the verse contains an invocational appeal addressed to the Christian and summoning him to action. At the same time if offers him the promise of Divine favour and aid. The first two lines are a rousing summons to moral activity; and the third line is the accompanying promise of God.

In view of these contents, couched in the language of exhortation and using a combination of metaphors (sleep, death, light) applied to the spiritual life of the Christian at his conversion and entry into the Church’s fellowship, the most natural event with which the verse is to be associated is Christian baptism. The lines would then be the accompanying chant to the actions of the baptismal service when the believer was buried in the water with Christ and raised again to newness of life (Romans vi, 4ff; Colossians ii, 12); and this leads one commentator on the text to submit that such a verse as Ephesians v, 14 would be fixed indelibly upon the heart and mind of the convert as he emerged from the baptismal water. Paul recalls it in his appeal to the Ephesian Christians, just as a preacher today might reinforce a point by the citation of the verse of a well-known and loved hymn.

Just a few observations:

  • This hymn serves a pastoral purpose, as Paul cites its words to reinforce the Gospel teaching and exhortations he is giving.
  • This hymn is Gospel; it focuses on Christ and his grace, calling forth faith from his people.
  • This hymn uses vivid metaphors to stimulate the imagination of the congregation.
  • This hymn is integrated with the liturgical actions and sacraments of the church.
  • This hymn shows how significant church music can be in the life of individual believers — reinforcing their most meaningful spiritual experiences and encouraging the formation of their faith.

A Simple, Honest Song

Over the past week or so I’ve been enjoying Iris Dement’s new album, Sing The Delta, which the Boston Globe called, “a work of rare, unvarnished grace and power.” I’ll be doing a review later this month.

For tonight, enjoy this classic song by Iris Dement. It almost always brings tears to my eyes as its simple words speak of the fragility and beauty of ordinary human life.