The Church Sings its Faith

Hymns represent the accumulated theological wisdom of generations, written by both lay people and the clergy, explains Robert C Mann, in the introduction to his new book The Church Sings its Faith, a history of the development of congregational song.

Mann writes from a faith perspective, and includes questions at the end of each chapter for possible group discussions within a church setting, but this book is an important resource for any academic students of hymnody, and of interest to any organist who is intrigued to know more about the origins of the tunes and texts for one of their core activities – accompanying communal singing.

The book opens with a helpful summary of the technical structure of hymns and their texts: metre, poetic devices, and purpose. And as Mann takes us through the sweeping history of congregational song from the very beginnings of the church, it is fascinating to see how texts and tunes passed through different hands to reach us in the form they take today, the themes and theology being modified to fit the fashions and preoccupations of the times. That scruffy old hymnbook that lives in my organ bag is revealed as a glorious palimpsest of influences: the Jewish psalms, fourth-century Latin bishops, the Anglo-Genevan Reformation, Isaac Watts, the Wesleys, the Oxford Movement, Evangelical Awakening, gospel, folk…. Mann is generous with examples of both words and music in every chapter, not uncritical of the weak or banal offerings of some historical periods, and gives an extensive list of representative hymns with dates for each writer or style under discussion. I found it most pleasing to understand so much more of the motives and social context behind so many of the hymns I churn out for my congregation Sunday after Sunday.

Mann is writing for an American readership, but that doesn’t mean that his analysis of American hymnody from the Colonial Era through to the 21st century isn’t of interest to the British reader: especially his comments on the far-reaching effect of the Second Vatican Council of 1960 on hymnody for all denominations (not just Roman Catholics), and the influence of the secular music market and consumerism on songs for the church.

He concludes: ‘Congregational song does not just happen. It requires discipline and hard work from individuals and leaders, and has to be loved, nurtured, taught and encouraged’ – a reminder that we organists need to continue to take hymn singing seriously, and impress this on our choirs, clergy, and congregations.

Robert C Mann is the Senior Resource Librarian of the Church Music Institute in the US. The CMI performs a similar role to the Royal School of Church Music in the UK, promoting sacred music for the use of Christian congregations, and training clergy, musicians and lay people. Membership give access to their online library of sacred choral and organ music, searchable under many different fields including level of difficulty, scripture/lectionary references and performing forces.